2695 

Al 

H2 


A 

A  = 

Al 

— ^  o 

0  = 

1— 

0  m 

0  m 

3  m 

O 

1  = 

^^  > 

8  ^ 

=  o; 

11 

2  = 

==  -< 

1  — 

^^  1» 

3 


MJOGRAFHIGAl^  GUIDE 


O  THE  STUDY  OF  THE 


^l^MSH  LANGUAGE  AND  l-iTEikutt 


^ILLIA^  Hi^SSLE« 


(  library'^ 

SA.N  DIEGO 
■ ^ 


THE  UNrVERSrTY  LIBRAi^ 

UNIVERSITY  OF  CALIFORNIA.  SAN  DIEGO 

LA  JOLLA,  CALIFORNIA 


h  I 


A  HANDY 

BIBLIOGRAPHICAL  GUIDE 


TO  THE  STUDY  OF  THE 


SPANISH  LANGUAGE 


AND 


LITERATURE 

WITH  CONSIDERATION  OF  THE  WORKS  OF 

SPANISH-AMERICAN  WRITERS 

FOR  THE  USE  OF 

STUDENTS  AND  TEACHERS  OF  SPANISH 

COMPILED  AND  EDITED 


BY 


WILLIAM  FjANSSLER 

DEPARTMENT  OF  MODERN  LANGUAGES 

YEATMAN  HIGH  SCHOOL 

ST.   LOUIS. 

C.  WITTER,  PUBLISHER,  ST.  LOUIS,  MO. 


Copyright  191 5 

BY 

W1L1.1AM  Hanssler 


PREFACE. 

This  little  pamphlet  has  been  developed  entirely  through 
practical  necessities,  and  it  is  intended  only  to  serve  practical 
ends.  Its  chief  aim  has  not  been  bibliographical  complete- 
ness, but  to  offer  to  the  American  teacher  and  student  a  selec- 
tion of  such  works  and  periodicals  as  will  be  really  necessary 
and  useful  in  the  study  of  Spanish.  It  is  hoped  that  not  many 
books  of  real  importance  for  the  ordinary  student  have  been 
overlooked  and  that  in  every  case  the  best  books  of  reference 
have  been  mentioned.  Librarians  of  colleges  and  of  public 
libraries,  wishing  to  provide  the  most  necessary  books  for 
the  study  of  Spanish,  may  be  also  materially  helped  in  their 
selection  by  referring  to  this  Guide. 

As  each  teacher  or  student  should  make  it  his  duty  to  have 
a  library  of  his  own,  the  attempt  has  been  made  to  indicate 
briefly  the  character  of  the  books  listed,  and  the  greatest  care 
has  been  taken  to  mention  reliable  cheap  editions. 

Whoever  makes  a  selection  of  books  is  liable  to  be  criti- 
cised for  admitting  certain  books  and  omitting  others;  but  I 
shall  receive  thankfully  any  suggestion  or  criticism  that  may 
be  made  for  the  improvement  of  this  little  book,  by  those  who 
are  using  it. 

I  wish  to  express  my  thanks  to  Mr.  Fred.  W.  Boettler  for 
his  critical  reading  of  the  manuscript  and  for  his  careful  read- 
ing of  the  proof. 

(3) 


CONTENTS. 

Page 
Preface    ^ 

1.  The  training  of  a  modern  language  teacher,    with 
special   reference   to   Spanish 6-10 

2.  The  ten    commandments  for    students    of    modern 
languages   

3      Phonetics.     The  science  of  speech  sounds  and  the 

19  14 
art  of  pronunciation i^-xi 

General  works  on  phonetics. 

Special  works  on  modern  Spanish 

phonetics. 

4.  Grammar l^"^"^ 

Modern  Spanish  Grammar. 

Modern  Syntax. 

Doubtful  points  of  Grammar  and 

best    Spanish. 
Catalan. 
Portuguese. 
Galician. 
Brazilian. 

Punctuation. 
Modern     Spanish     Spelling     and 

Grammar. 
Comparative    Spanish-Latin 

5.  Dictionaries    18-20 

Spanish-English      and      English- 
Spanish  Dictionaries. 
Synonyms. 
Etymology. 

(4) 


5.     Dictionaries — Continued.  -  Page 

Provincialisms :  Argentine. 

Chile. 

Costa-Rica. 

Cuba. 

Ecuador. 

Guatemala. 

Honduras. 

Mexico. 

Peru. 

Venezuela. 
Dialects :  Aragon. 

Leon. 

Asturias. 
Gallicisms. 
Latin-Spanish  Dictionaries. 

6.  History  of  the  Spanish  and  other  Romance 
Languages    21-22 

Historical  Grammar. 

7.  History  of  Language.  Psychology  of  Language. 
General  Principles  of  the  Development  of 
Languages    23-25 

8.  The  Study  of  the  History  of  Literature.  General 
works  on  the  History  of  Spanish  Literature 26-32 

History  of  the  Spanish  Drama. 
Special  periods  and  authors. 
Biographies     of     some     classical 
writers. 

9.  The  Study  of  the  Spanish  people  through  its 
poetical  works 33-52 

Poetry. 

The  Drama. 
The  Novel. 

10.  History  and  Geography  of  Spain.  Spanish  Society, 
Institutions  and  Manners.  Education  in  Spain. 
The  Spanish  University.     Spanish  Art 53-57 

11.  Reviews,  Periodicals  and   Bibliographies 58-59 

12.  Method  of  Teaching  Modern  Foreign  Languages.  .60-63 

(5) 


—  6  — 

1.  THE  TRAINING  OF  A  MODERN  LANGUAGE 
TEACHER,  WITH  SPECIAL  REFERENCE 

TO  SPANISH. 

The  study  of  a  modern  language  ought  to  be  practical  and 
scientific. 

In  the  high-school  and  college  the  student  has  to  acquire 
first  the  indispensable  practical  basis  of  the  living  language, 
and  to  get  acquainted  with  the  most  important  historical  facts 
and  cultural  conditions  of  the  people  whose  language  he 
studies. 

The  student  is  confused  if  he  attempts  the  scientific  study 
of  a  language  without  the  solid  basis  of  its  modern  form. 

At  the  university  the  foundations  of  the  philological  study 
should  be  laid.  Here  the  student  learns  to  view  the  develop- 
ment of  the  language  and  literature  in  the  light  of  history ;  he 
learns  not  only  the  facts,  but  their  inner  connections;  he 
becomes  acquainted  here  with  the  older  phases  of  the  lan- 
guage, with  the  critical  interpretation  of  old  and  modern  texts, 
and  finally  with  the  study  of  scientific  grammar,  the  history 
of  the  language  and  comparative  philology.  In  short,  here 
he  obtains  a  general  and  methodical  survey  of  the  whole 
domain  of  his  subject,  which  added  to  his  practical  knowledge 
of  the  language  places  him  far  above  the  "maitre  des  langues" 
and  gives  him  that  feeling  of  confidence  which  is  a  guarantee 
for  the  success  of  his  teaching. 

But  however  successfully  a  student  or  young  teacher  may 
have  worked  in  his  own  country,  a  stay  of  at  least  half  a  year 
in  the  foreign  country  whose  language  he  wishes  to  teach,  is 
indispensable.  This  visit  should  be  made  immediately  after 
taking  his  degree.  His  general  knowledge  of  the  language, 
literature,  and  history,  his  .training  in  phonetics,  and  the 
better  understanding  he  has  of  the  character  and  culture  of 
the  foreign  people  assure  him  a  more  profitable  and  interest- 
ing sojourn. 


The  main  object  of  traveling  in  a  foreign  country  is  the 
perfection  of  the  practical  knowledge  and  understanding  of 
the  language.  It  is  necessary  to  warn  the  student  not  to 
spend  his  time  in  learning  things  which  he  can  learn  as  well 
at  home  from  books.  His  acquaintance  with  the  manners  and 
customs  of  the  people,  its  institutions,  administration,  educa- 
tion, etc.,  is  a  matter  of  secondary  importance  and  ought  only 
to  be  considered  as  a  help  to  the  main  object  of  the  journey. 

Although  there  are  noticeable  differences  between  the 
speech,  life,  and  character  of  Northern  and  Southern  Spain, 
the  importance  of  the  place  selected  is  not  to  be  overrated. 
However,  as  the  capital  of  the  country  should  be  known  td 
the  special  student  of  a  language,  the  teacher  of  Spanish! 
should  visit  Madrid,  if  a  choice  is  possible. 

Through  the  general  inclination  to  use  correct  and  elegant 
speech,  the  difference  between  the  pronunciation  of  the  cul- 
tured classes  and  the  uneducated  city  classes  has  almost  dis- 
appeared. Everywhere  will  be  found  the  well-educated 
Spaniard  who  uses  the  official  language.'"  It  may  be  said  that 
correct  language  is  more  generally  used,  and  consequently 
more  vigorous  and  forcible  in  the  daily  press,  on  the  stage,  and 
in  the  popular  literature  than  is  the  case  in  this  country. 

Once  settled  in  the  foreign  country  he  should  speak  and 
hear  as  much  Spanish  as  possible,  keeping  away  from  every- 
thing English.  He  should  select  a  good,  private  boarding 
place  where  he  will  hear  good  Spanish,  where  he  is  compelled 
to  talk  and  at  the  same  time  where  he  has  a  chance  to  get 
acquainted  with  the  customs  and  the  peculiarities  of  the 
Spanish  family  and  social  life. 

To  hear  as  much  Spanish  as  possible  he  should  attend  lec- 
tures about  history,  geography,  literature,  economics,  art, 
etc.    He  should  hear  sermons  and  he  should  go  to  the  theatres 


*  This  is  the  language  which  has  developed  since  the  XIII  century 
and  has,  as  a  basis,  the  dialect  of  Toledo,  mixed  with  some  other 
elements,  especially  old-Castilian  and  leones. 


-  8  — 

where  he  is  sure  to  hear  a  good  pronunciation.  The  reading 
of  the  play  beforehand  is  strongly  recommended.  He  should 
witness  a  great  public  festival,  a  "Corrida  de  Toros"  (bull- 
fight), a  fair,  a  procession,  a  military  display.  He  should  buy 
and  read  different  newspapers  and  magazines;  see  the  great 
works  of  art;  study  the  comic  papers  of  the  different  regions 
and  compare  them  with  those  of  America. 

A  very  important  point  is  the  keeping  of  a  diary,  in  which 
he  may  enter  everything  that  strikes  him  as  characteristic  of 
foreign  life,  in  which  he  may  describe  his  impressions.  This 
will  afford  him  an  excellent  opportunity  to  express  his 
thoughts  in  the  foreign  idiom.  He  should  collect  catalogues; 
buy  photographs  and  picture  post-cards,  e.  g.,  The  Escorial, 
Burgos  Cathedral,  Mosque  of  Cordova,  Alcazar  of  Seville, 
Court  of  Lions  (Alhambra),  Royal  Picture  Gallery,  Chamber 
of  Deputies  with  the  Statue  of  Cervantes,  etc.  He  should 
procure  some  collections  of  popular  songs  with  music  and 
books  illustrating  both  life  and  customs.  He  should  try  to  be 
admitted  to  good  schools  and  attend  lessons  in  different  classes 
where  he  can  get  acquainted  with  expressions  which  he  may 
use  afterwards  in  his  own  teaching.  Through  the  corrections 
of  the  teacher,  he  learns  to  distinguish  the  good  language  from 
the  vulgar,  the  more  choice  expressions  from  the  popular  ex- 
pressions. But  this  practical  and  scientific  training  is  not  yet 
sufficient. 

The  success  of  the  teacher  depends  on  three  things :  His 
thorough  knowledge  of  the  subject  he  teaches,  his  personality 
■which  inspires  his  teaching  with  the  vital  force  necessary  to 
raise  it  to  an  educative  influence,  and  his  acquaintance  with 
the  science  of  education. 

Many  teachers  think  that  the  learning  acquired  at  the  Uni- 
versity qualifies  them  without  further  preparation  for  teaching. 
It  is  an  erroneous  idea  that  scholarship  and  experience  alone 
w^ill  enable  a  teacher  to  fill  his  place  properly.  Experience  is 
doubtless  very  important,  especially  when  combined  with  ped- 


...-^  ■  9  — 

agogical  tact,  but  even  so  it  is  not  possible  to  dispense  with  all 
didactic  theory.  Of  course,  pedagogy  is  an  art  for  which  one 
must  have  a  natural  disposition,  but  it  is  an  art  based  on 
science.  A  teacher  will  only  then  be  a  true  pedagogue  when 
he  knows  how  to  adapt  his  presentation  of  the  scientific  mate- 
rial to  the  peculiar  psychical  condition  of  the  pupils.  There- 
fore he  must  be  acquainted  with  the  fundamental  laws  of  psy- 
chology and  their  application  to  practical  pedagogy;  he  must 
have  a  knowledge  of  the  history  of  pedagogy  and  especially 
the  pedagogy  of  the  high-schools. 

Unfortunately  most  students  see  in  this  demand  not  a 
beneficial,  but  rather  a  burdensome  and  possibly  a  superflu- 
ous requirement,  one  which  is  to  be  obeyed  only  in  so  far  as 
it  is  indispensable. 

This  want  of  pedagogical  preparation  causes  many  teach- 
ers to  see  in  their  profession  a  miserable  day's  labor,  made 
up  of  drilling  on  rules,  review  of  paradigms,  and  last  but  not 
least,  the  correction  of  written  tests  and  papers. 

Nowhere  is  a  philosophical  training  more  necessary  than 
in  teaching,  where  daily  routine  tends  to  dull  the  mind  and 
so  powerfully  narrows  the  mental  horizon.  Only  when  the 
teacher  possesses  this  philosophical  training  will  it  be  possible 
to  realize  the  demand  which  Herbart  expresses  in  the  follow- 
ing words:  "It  is  to  be  expected  that  the  teacher  will  find 
through  his  study  of  philosophy  new  auxiliary  means  which 
will  help  him  in  the  teaching  of  his  main  subject." 

One  who  has  selected  his  profession  without  an  inner  vo- 
cation naturally  cannot  be  helped.  Inclination  and  love  of 
his  profession  is  as  indispensable  for  the  teacher,  as  it  is  for 
the  minister  or  the  physician.  But  this  does  not  mean  that 
one  is  born  a  teacher  and  has  no  need  of  thorough  prepara- 
tion.    "Auch  der  Schulmeister  fallt  nicht  vom  Himmel." 

"The  student  who  has  obtained  through  his  study  of  the 
history  of  Pedagogy  more  than  mere  names,  dates  and  watch- 


—  10  — 

words,  who  has  taken  a  glance  at  the  inner  connection  of  his 
science  with  ethics  and  psychology  and  is  acquainted  with 
the  deepest  questions  and  highest  problems  of  existence  will 
begin  his  profession  with  modesty  and  pride."  (W.  Vietor). 

"Such  a  training  as  proposed  for  intending  teachers  of 
modern  languages,  is  just  as  long,  their  work  at  least  as  hard, 
as  sound,  as  important  and  dignified,  as  that  of  their  classical 
colleagues.  They  have  to  master  one,  or  even  two,  difficult 
languages,  to  be  acquainted  with  the  masterpieces  of  a  rich 
literature  extending  over  many  centuries ;  they  have  not  only 
to  write,  but  to  speak  these  languages  easily  with  genuine 
foreign  intonation.  This  requires  them  to  go  through  a 
special  scientific  and  practical  training  of  the  ear  and  of  the 
speech  organs,  and  involves  an  expensive  stay  abroad."  (Karl 
Breul,  "The  Teaching  of  Modern  Foreign  Languages.") 


11 


2.  THE  TEN  COMMANDMENTS  FOR  STUDENTS 
OF  MODERN  LANGUAGES. 

1.  You  should  master  thoroughly  the  language  you  are  go- 
ing to  teach. 

2.  Your  pronunciation  should  be  correct  and  be  founded 
upon  a  good  knowledge  of  phonetics. 

3.  Your  knowledge  of  grammar  should  be  complete  and 
positive. 

4.  You  should  keep  the  right  balance  between  the  theoreti- 
cal and  practical  study,  and  between  the  historical  devel- 
opment of  the  language  and  its  present  condition. 

5.  You  should  read  extensively ;  yet  the  thorough  reading  of 
a  few  books  is  better  than  the  superficial  reading  of  a 
large  number. 

6.  You  should  train  yourself  not  only  to  write  correctly,  but 
also  to  judge  correctly  what  has  been  written  in  the 
foreign  language. 

7.  Your  practical  and  theoretical  knowledge  of  the  language 
should  be  accompanied  by  a  knowledge  of  its  cultural 
values. 

8.  You  should  have  an  elementary  knowledge  of  the 
languages  which  are  closely  related  to  the  language 
chosen. 

9.  You  should  visit  the  foreign  country  and  get  intimately 
acquainted  with  the  foreign  life. 

10.     As  a  teacher  you  should  be  cultured,  skillful  and  active. 


12  — 


3.    PHONETICS. 

The  Science  of  Speech  Sounds  and  the  Art  of  Pro- 
nunciation. 

The  scientific  study  of  a  foreign  language  must  necessarily 
begin  with  the  exact  understanding  of  the  formation  of  its 
speech  sounds,  and  for  this  exact  understanding  the  student 
must  have  a  general  idea  of  phonetics.  Johann  Storm,  pro- 
fessor of  Romance  and  English  philology  at  the  University  of 
Christiania,  says  in  his  highly  esteemed  book  "Die  lebende 
Sprache :"  "As  long  as  teachers  of  modern  foreign  languages 
are  wanting  a  clear  understanding  of  the  proper  production  and 
utilization  of  speech  sounds,  their  instruction  in  accurate 
pronunciation  will  be  a  mere  groping  in  the  dark." 

The  most  obvious  of  the  practical  applications  of  phonetics 
is  the  acquisition  of  a  correct  pronunciation  of  foreign  lan- 
guages, but  the  practical  importance  of  this  auxiliary  science  is 
not  yet  sufficiently  insisted  upon  in  all  quarters.  A  teacher 
must  be  trained  to  observe,  to  analyze  and  to  imitate  con- 
sciously the  foreign  sounds,  compare  them  with  those  of  his 
native  tongue  and  know  the  special  difficulties  which  con- 
front the  beginner. 

The  most  valuable  general  works  on  phonetics  which  will 
give  the  necessary  foundation  are  the  following  text-books : 
Henry  Sweet  "A  Primer  of  Phonetics"  (3rd  ed.  Oxford,  1906), 
it  is  practically  an  abridged  and  carefully  revised  edition  of  his 
"Handbook  of  Phonetics"  (beginners  may  possibly  find  it  too 
concise) ;  Paul  Passy's  "Petite  phonetique  comparee  des  prin- 
cipals langues  europeenes"  (Leipzig  1906);  Otto  Jespersen's 
"Lehrbuch  der  Phonetik"  and  "Phonetische  Grundfragen"   (2 


—  13  — 

vol.  Leipzig  1904)  and  W.  Victor's  "Kleine  Phonetik"  (Leip- 
zig 1903)  which  will  answer  all  the  needs  of  the  ordinary 
teacher.  A  large  work  of  great  importance  which  deals  with 
phonetics  mainly  from  the  point  of  view  of  comparative  phil- 
ology is  E.  Siever's  "Grundziige  der  Lautphysiologie"  (5  ed. 
Leipzig  1901). 

The  first  general  analysis  of  the  sounds  of  modern  Spanish 
was  made  by  Fernando  Araujo  in  his  "Recherches  sur  la  pho- 
netique  espagnolle"  (Phonetische  Studien,  vol.  III.,  IV.,  V., 
VI.)  Questions  of  Spanish  pronunciation  are  treated  also  in 
different  articles  in  "Le  maitre  phonetique  (see  Periodicals), 
one  by  A.  F.  Kuersteiner  (December,  1896)  is  especially  in- 
teresting. 

A  new  school  of  phoneticians  employs  physical  apparatus 
in  their  investigations,  their  principles  and  methods  being  ex- 
plained in  vol.  I.  of  Rousselots'  "Principes  de  phonetique  ex- 
perimental." F.  M.  Josselyn,  late  professor  of  Romance  lan- 
guages at  Boston  University,  has  published  an  analysis  and  de- 
termination of  Spanish  speech  sounds  along  experimental 
lines  under  the  title  of  "Etudes  de  phonetique  espagnole"  (Pa- 
ris 1907).  Another  very  useful  and  instructive  volume  is  Mol- 
ton  Avery  Colton  "La  phonetique  castillane.  Traite  de  phone- 
tique descriptive  et  comparative."  (Paris  1909.) 

The  Grammars  of  modern  and  old  Spanish,  the  titles  of 
which  are  given  in  the  corresponding  chapter,  contain  a  short 
account  of  the  various  Spanish  sounds.  Likewise  the  first  part 
of  the  excellent  "Gramatica  historica"  by  R.  Menendez  Pi- 
dal  (Madrid  1905)  gives  an  account  of  the  history  and  theory 
of  sound  changes  (phonology)  as  well  as  the  analysis  and  clas- 
sification of  the  actual  sounds  (phonetics)  of  the  Spanish  lan- 
guage. A  short  but  good  essay  on  the  same  matter  is  Federico 
Hanssen's  "Elementos  de  Fonologia  Castellana"  (Santiago  de 
Chile  1900). 

But  the  student  should  not  forget  that  even  the  best  book  on 


—  14  — 

this  subject  will  not  enable  him  to  dispense  with  making  care- 
ful observations  of  his  own. 

After  getting  acquainted  with  the  principal  features  of  the 
physiology  of  sounds  the  proper  study  of  the  language  begins. 


A  paper  which  is  urgently  recommended  to  every  teacher  of 
modern  languages  is  "The  value  of  phonetics  in  teaching  mod- 
ern languages"  by  Dr.  Adolph  Rambeau,  read  before  the 
Modern  Language  Association  of  America,  and  published  in 
the  second  volume  of  Vietor's  "Die  neueren  Sprachen." 


—  15  — 
4.     GRAMMAR. 

It  is  indispensable  for  the  young  philologist  to  acquire  a 
clear  and  systematic  view  of  the  laws  of  the  language  which 
he  studies.  To  do  this  he  must  begin  by  studying  a  syste- 
matic grammar.  Without  hesitation  I  suggest  the  names  of 
three  philologists,  whose  transcendental  works  the  library  of 
every  teacher  of  Spanish  ought  to  contain.  They  are  Bello, 
Cuervo  and  Isaza.  They  are  Latin-Americans,  and  the  great 
linguistic  movement  started  by  them  forms  a  noticeable  con- 
trast to  the  linguistic  silence  in  Spain. 

In  the  grammar  of  Bello,  with  the  superb  notes  of  Cuervo 
(Andres  Bello,  "Gramatica  de  la  lengua  castellana  con  extensas 
notas  y  un  copioso  indice  de  Rufino  Jose  Cuervo,"  Paris,  1906) 
the  highest  point  is  reached  in  grammatical  production.  In 
the  "Diccionario  de  la  conjugacion  castellana"  by  Emiliano 
Isaza,  and  in  the  "Estudios  gramaticales ;  Introduccion  a  las 
obras  filologicas  de  Andres  Bello  con  una  advertencia  y  no- 
ticia  bibliografica  por  M.  A.  Caro,"  by  M.  F.  Suarez,  we  pos- 
sess the  very  best  that  has  been  published  in  this  matter. 
These  books  cannot  be  too  earnestly  recommended. 

Of  more  bulky  works  nothing  better  has  been  written  on 
the  Spanish  language  than  the  "Diccionario  de  construccion  y 
regimen,"  and  with  a  deeper  knowledge  of  the  psychology  of 
the  Spanish,  than  the  "Apuntaciones  criticas  sobre  el  lenguaje 
bogotano"  (Paris  1905).  In  this  edition  a  new  work  is  an- 
nounced: "Castellano  popular  y  castellano  literario."  These 
works  are  also  products  of  the  eminent  linguistic  mind  of 
Rufino  Jose  Cuervo,  the  leading  authority  on  American 
Spanish.  Another  first  rate  book  is  Emiliano  Isaza's  "Gra- 
matica practica  de  la  lengua  castellana"  (39th  edit.  London 
1914). 

Among  the  textbooks  on  Modern  Spanish  Grammar  pub- 
lished in  Spain  the  following  can  be  warmly  recommended: 
Vicente  Salva,  "Gramatica  de  la  lengua  castellana,  segun  ahora 


—  16  — 

se  habla"  (Paris,  14th  edition)  and  the  "Gramatica  de  la  lengua 
castellana"  by  the  Real  Acadmia  Espanola.  The  latter  being 
of  great  significance  because  it  is  considered  an  authority 
among  the  Spanish  speaking  people. 

Various  books  deal  with  special  parts  of  modern  Spanish 
Grammar.  Thus  on  Syntax  the  following  works  give  much 
useful  information :  Luis  Parral  "Analisis  logico-gramatical" 
(Tarragona  1893),  a  text-book  very  useful  to  teachers;  Simon 
Aguilar  "Tratado  de  analisis  gramatical  y  logico,  seguido  de 
unos  elementos  de  composicion  castellana;"  and  Luciano  Gis- 
bert  "Teoria  y  analisis  de  la  oracion  gramatical."  Accentua- 
tion is  treated  in  E.  Benot's  "Examen  critico  de  la  accentua- 
cion  espafiola." 

There  are  a  number  of  Spanish  books  in  which  "doubtful 
points  of  grammar"  and  the  "best  Spanish"  are  discussed. 
The  following  will  be  especially  serviceable  to  teachers :  R. 
Martinez  y  Garcia  "Curiosidades  gramaticales.  Gramatica 
ampliada  del  idioma  espafiol  y  sus  dialectos"  (Madrid  1896). 
Pascual  Martinez  Abellan  "Rarezas  de  la  lengua  espaiiola" 
contains  a  complete  discussion  of  the  influence  of  prepositions 
on  the  meaning  of  words.  Francisco  J.  Orellano  "Cizaiias  del 
lenguaje;  Vocabulario  de  disparates."  A.  de  Castro  "Estu- 
dios  practicos  de  buen  decir  y  de  arcanidades  del  habla  es- 
pafiola;" and  by  the  same  author  "Libro  de  galicismos;"  Gre- 
gorio  Garces  "Fundamento  del  vigor  y  elegancia  de  la  lengua 
castellana,  con  adiciones  de  Juan  Perez  Villamil"  (Madrid 
1885).  Miguel  Luis  Amunategui  Reyes  "Borrones  gramati- 
cales" (Santiago  de  Chile) ;  Tomas  Guevara  "Incorreciones  del 
castellano"  (Santiago  de  Chile) ;  J.  Seijas  "Diccionario  de  bar- 
barismos  cotidianos."  Baez  "Coleccion  de  voces  y  locuciones 
viciosas;"  Eduardo  de  Huidobro  "Pobre  lengua — voces  y  lo- 
cuciones incorrectas  hoy  comunes  en  Esparia"  (Santander 
1908) ;  and  among  the  more  bulky  works  Baldomero  Rivodo 
"Entretenimientos  gramaticales,"  8  vols. 

Students   who   aim   to    acquiring   a   knowledge   of   the   two 


—  17  — 

other  Romance  languages  that  share  the  extensive  territory 
of  the  Iberian  Peninsula,  that  is,  besides  the  Castilian  and  its 
dialects,  the  Portuguese-Galician  and  the  Catalan  languages, 
may  find  an  excellent  account  in  Grober's  "Grundriss  der  ro- 
manischen  Philologie;"  "Das  Catalinische"  by  A.  Morel  Fatio 
and  "Die  portugiesische  Sprache"  by  J.  Cornu.  Other  texts 
which  may  be  recommended  are  A.  Nonell  y  Mas  "Analisis 
de  la  llenga  catalana  antiga  comparada  ab  la  moderna"  (Man- 
resa  1895) ;  P.  Fabra  "Contribucio  a  la  gramatica  de  la  llengua 
catalana"  (Barcelona  1898);  Saco  Arce  "Gramatica  gallega" 
(Lugo  1868);  and  Arniceto  dos  Reis  Goncalves  Vianna  "Por- 
tugiesisch.  Phonetique  et  Phonologie.  Morphologie"  (2nd 
volume  of  Skizzen  lebender  Sprachen,  edit,  by  Wilhelm  Vie- 
tor.  Leipzig  1903).  For  other  dialectical  varieties  the  student 
may  consult  I.  J.  da  Fonseca  "Nogoes  de  philologia  acomoda- 
das  a  lingo  a  brasiliana  (Rio  Janeiro  1885)  and  J.  Leite  de 
Vasconcellos  "Dialectos  beires  (Oporto  1884). 

The  best  publication  on  the  subject  of  Spanish  spelling  is 
the  "Metodo  de  Ortografia  Espaiiola"  (5th  edit.  Madrid  1914), 
by  Julian  Martinez  Mier,  which  contains  not  only  interesting 
linguistic  and  historical  observations,  but  also  a  list  af  galli- 
cisms, barbarisms  and  other  vices  of  the  Spanish  language. 
It  is  based  on  the  rules  set  in  force  by  the  Spanish  Royal 
Academy. 

Students  and  teachers  will  find  most  useful  for  study  Fran- 
cisco A.  Comeleran  "Gramatica  comparada  de  las  lenguas  cas- 
tellana  y  latina"  and  Raimundo  de  Miguel  "Gramatica  cas- 
tellana  comparada  a  la  latina"  (Madrid  1897),  and  "Gramatica 
hispano-latina,  teorico-practica  para  el  estudio  simultaneo  de 
las  lenguas  latina  y  castellana  comparadas"  (Madrid  1897). 


—  18  — 


5.    DICTIONARIES. 

A  number  of  dictionaries  of  different  kinds  should  be  found 
on  the  shelves  of  a  well-equipped  reference  library.  Apart 
from  the  ordinary  small  school  dictionaries,  a  teacher  will  be 
in  constant  need  of  at  least  one  large  Spanish  dictionary  with 
Spanish  explanations.  The  Spanish  language  is  still  very  poor 
in  complete  works  of  philological  character.  The  last  edition 
of  the  "Nuevo  diccionario  de  la  lengua  castellana  por  la  Aca- 
demia  Espaiiola,  anadido  con  unas  26000  voces,  frases,  etc.  y 
con  un  suplemento"  (9th  edition)  by  Vicente  Salva  is  to  be 
recommended.  Another  work  is  the  "Diccionario  de  la  lengua 
castellana  de  la  Real  Academia  Espaiiola  (Madrid  1914,  14th 
edition) — the  best  edition  being  the  first  in  6  volumes  (1726- 
1739).  The  later  editions  are  only  shortened  revisions  of  the 
first. 

Some  students  may  like  to  possess  one  of  the  small  illus- 
trated dictionaries,  like  the  "Diccionario  castellano  enciclo- 
pedico"  (Paris)  by  Lorenzo  Campano.  This  dictionary  is 
based  on  the  last  edition  of  the  "Diccionario  de  la  Real  Aca- 
demia Espanola,"  very  complete,  cheap  and  most  useful  for 
all  ordinary  purposes.  Others  are  "Nuevo  Diccionario  de  la 
lengua  castellana"  by  Roque  Barcia  (Barcelona  1905),  the 
"Diccioniario  manual  de  la  lengua  espafiola  (Madrid  1908)  by 
R.  Rodriguez  Navas,  and  the  "Diccionario  de  la  lengua  cas- 
tellana" (Barcelona  1911)  by  Atilano  Ranees. 

In  Spanish-English  dictionaries  we  do  not  possess  complete 
and  exhaustive  works  which  would  satisfy  the  requirements  of 
modern  philology.  The  best  among  the  larger  dictionaries  are 
Mariano  Velasquez  de  la  Cadena  "Nuevo  diccionario  ingles- 
espanol  y  espafiol-ingles,"  completely  revised  and  enlarged  by 
Gray  and  Iribas  (New  York  1912) ;  Arthur  Angeli  "A  new  dic- 
tionary of  the  English-Spanish  and  Spanish-English  Lan- 
guages" (New  edition  revised  and  corrected  by  J.  McLaughlin, 


—  19  — 

London  1911);  and  an  abridgment:  Appletbn's  "New  Spanish- 
English  and   English-Spanish  Dictionary"   (New  York  1904). 

The  most  handy  dictionaries  for  "Synonyms"  are  Roque 
Barcia  "Sinonimos  castellanos"  (Madrid  1910),  and  Benjamin 
Moury  Campo  "Sinonimos  castellanos  y  voces  de  sentido  ana- 
logo"  (Madrid  1911).  Eduardo  Benot's  "Diccionario  de  ideas 
afines"  facilitates  precision  of  expression,  supplies  a  variety 
of  words  for  different  shades  of  meaning,  and  affords  welcome 
assistance  in  the  writing  of  Spanish. 

For  the  derivation  of  words  the  student  will  do  well  to  con- 
sult the  "Glosario  etimologico  de  las  palabras  espafiolas"  by 
L.  de  Eguilaz  y  Yangas  and  the  "Diccionario  etimologico  de 
la  lengua  castellana,  precedido  de  unos  rudimentos  de  etimol- 
logia"  by  Pedro  Felipe  Monlau.  The  very  comprehensive 
w^orks  of  Roque  Barcia  "Primer  diccionario  general  etimo- 
logico de  la  lengua  castellana"  (5  volumes)  and  of  Eduardo  de 
Echegaray  "Diccionario  general  etimologico  de  la  lengua  cas- 
tellana" (5  volumes)  are  too  bulky  and  expensive  for  general 
use.  Diez's  "Etymologisches  Worterbuch  der  romanischen 
Sprachen,"  with  Jarnik's  "Neuer  vollstandiger  Index"  is  still 
an  indispensable  work  for  advanced  students.  Indispensable, 
also,  is  Korting's  "Lateinisch-romanisches  Worterbuch,"  in 
which  not  only  Latin,  but  also  Greek,  Germanic  and  other 
known  or  supposed  types  of  Modern  Romance  words  are  ar- 
ranged under  one  alphabet. 

Among  dictionaries  of  provincialisms  the  best  are  the  "Dic- 
cionario provincial  casi  razonado  de  voces  y  frases  cubanas" 
by  Esteban  Pichardo;  the  "Diccionario  de  chilenismos"  by 
Zorobabel  Rodriguez  (Santiago  de  Chile)  ;  "Voces  usadas  en 
Chile"  by  Echevarria  Reyes  (Santiago  de  Chile);  "Neologis- 
mos  y  Americanismos  y  Papeletas  lexicograficas"  by  Ricardo 
Palma;  "Hondurenismos,  vocabulario  de  los  provincialismos 
de  Honduras"  (Tegucigalpa  1897)  by  Alberto  Membrefio;  "Vi- 
cios  de  lenguaje.  Provincialismos  de  Guatemala"  by  Antonio 
Batres  Jauregui,  and  his  other  work  "El  castellano  en  Ameri- 


—  20    — 

ca;"  "Idioma  nacional  de  los  Argentines"  by  L.  Abeille  (Paris 
1900);  "Vocabulario  Rioplatense  razonado"  by  D.  Granada 
(Montevideo  1890) ;  "Nahuatlismos  de  Costa  Rica"  by  Fernan- 
dez Ferraz  (San  Jose  1892);  "Diccionario  de  barbarismos  de 
Costa  Rica"  by  C.  Cagini  (San  Jose  1893);  "Modismos,  locu- 
ciones  y  terminos  mexicanos"  by  J.  Sanches  Somoano  (Madrid 
1892);  "Diccionario  de  peruanismos"  by  J.  de  Arona  (Lima 
1883);  "El  castellano  en  Venezuela"  by  J.  Calcaiio  (Caracas 
1897) ;  "Apuntes  para  un  catalogo  razonado  de  las  palabras 
mexicanas  introducidas  en  el  castellano"  by  Eufemio  Men- 
doza;  "Consultas  al  Diccionario  de  la  Lengua.  Algo  de  lo  que 
falta  en  el  vocabulario  academico  y  de  lo  que  sobra  en  el  de  los 
ecuatorianos"  by  Charles  R.  Tovar  (Barcelona  1907);  and  the 
"Vocabulario  Criollo-Espaiiol-Sudamericano  (Madrid  1911)  by 
Ciro  Bayo.  No  such  works  exist  for  Bolivia,  Nicaragua  and 
Paraguay. 

In  Spain,  the  "Diccionario  de  voces  aragonesas  de  Jero- 
nimo  Borao"  (2nd  ed.  Zaragoza  1885),  "El  dialecto  vulgar  leo- 
nes"  by  Pio  Gullon  (Astorga  1909),  "El  dialecto  leones"  by  R. 
Menendez  Pidal  in  the  "Revista  de  Archives,  Bibliotecas  v 
Museos"  (Madrid  1906),  and  A.  de  Rato  y  Hevia  "Vocabulario 
de  las  palabras  y  f rases  que  se  hablan  en  Asturias"  (Madrid 
1891),  practically  comprise  all  the  works  of  this  class;  and 
from  all  the  immense  amount  of  Latin-American  production 
mentioned  above  the  only  work  well  known  in  Spain  is  the 
"Diccionario  de  galicismos  o  sea  de  las  voces,  locuciones  y 
frases  de  la  lengua  francesa  que  se  han  introducido  en  el  habla 
castellana  moderna"  by  R.  M.  Baralt  (1  vol.  2nd  edition). 

An  excellent  Latin-Spanish  Dictionary  ("Diccionario  etimo- 
logico  latino-espahol")  has  been  published  by  Francisco  A. 
Commeleran.  It  is  well  adapted  to  the  requirements  of  mod- 
ern philology  and  is  the  most  complete  work  published  to  date. 


—  21  — 

6.     HISTORY  OF  THE  SPANISH  AND  OTHER 
ROMANCE  LANGUAGES. 

Besides  the  practical  study  of  the  language,  the  study  of 
those  works  which  give  the  beginner  an  idea  of  the  principal 
problems  of  the  Science  of  the  Spanish  language  and  which 
will  teach  him  to  find  relations  where  the  layman  sees  only 
isolated  or  disconnected  instances,  must  not  be  neglected. 
Then  he  will  not  accustom  himself  to  see  in  the  study  of  Gram- 
mar a  necessary  evil,  as  it  often  happens  with  young  students, 
but  convince  himself  that  the  knowledge  of  the  historic  de- 
velopment is  not  only  helpful  but  indispensable  for  a  full 
comprehension  of  the  modern  language. 

The  student  should  not  begin  the  study  of  Old  Spanish 
Grammar  before  having  read  Old  Spanish  texts,  or  he  should 
at  least  begin  their  study  simultaneously. 

As  the  best  introduction  to  a  scientific  study  of 
the  origin  and  growth  of  the  Spanish  language  one 
may  refer  to  the  following  books  "Manual  elemental 
de  gramatica  historica  espaiiola"  by  Ramon  Menendez  Pidal 
(Madrid  1905),  which  is  an  attractively  written,  practical  and 
clear  summary  of  the  latest  results  of  Spanish  philological  re- 
search; "Gramatica  historica  de  la  lengua  castellana"  by  Sal- 
vador Padilla  (Madrid  1908);  "Estudio  elemental  de  grama- 
tica historica  de  la  lengua  castellana"  by  Jose  Alemany  (Mad- 
rid 1903) ;  P.  de  Mujica  "Gramatica  del  castellano  antiguo" 
(Berlin  1891);  and  "Selecta  literaria  de  lengua  y  literatura  es- 
pafiolas,  precedida  de  unas  nociones  de  gramatica  historica" 
by  Luis  Rodriguez  Miguel.  This  work  contains  a  fine  outline 
of  historical  grammar  and  selections  from  the  Spanish  clas- 
sics prior  to  the  XV.  century.  Another  first-rate  book  is  Jose 
Rufino  Cuervo's  "Disquisiciones  sobre  filologia  castellana." 
Teachers  may  also  like  to  refer  to  Friedrich  Hanssen's  "Spani- 


—  22  — 

sche  Grammatik  auf  historischer  Grundlage"  (Halle  a/S.  1910), 
or  its  Spanish  translation  "Gramatica  historica  de  la 
lengua  castellana"  (Madrid  1913);  Adolf  Zauner's  "Altspani- 
sches  Elementarbuch"  (Heidelberg  1908);  A.  Keller  "Histori- 
sche  Formenlehre  der  spanischen  Sprache"  (1894),  and  by  the 
same  author.  "Altspanisches  Lesebuch  mit  Grammatik  und 
Glossar"  (Leipig  1890);  and  Egidio  Gorra's  "Lingua  e  lettera- 
tura  spagnuola  delle  origini"  (Milano  1898);  J.  D.  M.  Ford 
"Old  Spanish  Readings"  (Ginn  &  Co.,  Boston). 

Those  who  wish  to  have  a  survey  of  the  development  of 
Spanish,  in  comparison  with  that  of  the  other  Romance  lan- 
guages should  refer  to  W.  Meyer-Luebke  "Einfiihrung  in  das 
Studium  der  romanischen  Sprachwissenschaft"  (Heidelberg 
1901),  or  in  its  Spanish  translation  "Introduccion  al  estudio 
de  linguistica  romance"  (Madrid  1914);  Korting's  Handbuch 
der  romanischen  Philologie"  (Leipzig  1896);  W.  Meyer- 
Luebke  "Grammatik  der  romanischen  Sprachen"  (Band  1 — 3, 
Heidelberg  1890 — 1900);  or  F.  Diez  "Grammatik  der  romani- 
sche  Sprachen"  (5te  Auflage,  Bonn  1882)  and  finish  with  the 
"Grundriss  der  romanischen  Philologie,"  edited  by  Grober 
with  the  assistance  of  numerous  specialists,  which  includes 
scholarly  chapters  on  the  history,  object  and  method  of  Ro- 
mance philology,  on  the  Romance  languages  and  their  dialects, 
Romance  metre  and  the  literature,  history,  civilization,  art  and 
sciences  of  the  Romance  nations.  The  enormous,  ever  in- 
creasing material  has  been  compiled  and  organized  in  a  clear, 
comprehensive  form,  giving  an  attractive  statement  of  the 
whole  Romance  science. 

Two  very  well  written  and  practical  little  books  are  Adolf 
Zauner:  "Romanische  Sprachwissenschaft"  (Sammlung  Go- 
schen,  Bd.  128)  and  Prof.  R.  Meringer's  "Indogermanische 
Sprachwissenschaft"  (Sammlung  Goschen,  Bd.  59). 

An  account  of  the  history  of  the  Spanish  language  consider- 
ing the  special  needs  of  the  American  students  still  remains  to 
be  written. 


—  23  — 

7.    HISTORY  OF  LANGUAGE.     PSYCHOLOGY 

OF  LANGUAGE.     GENERAL  PRINCIPLES 

OF  THE  DEVELOPMENT  OF 

LANGUAGES. 

The  fundamental  questions  concerning  the  history  of  lan- 
guages in  general  with  which  the  young  philologist  ought  to 
be  acquainted,  has  been  discussed  in  a  masterly  way  by  Henry 
Sweet  in  his  "History  of  Language"  (London  1900).  More 
detailed  books  on  the  subject,  which  will  be  found  especially 
useful  for  beginners  or  for  those  who  wish  to  follow  up  spe- 
cial branches  of  study  are:  Otto  Jespersen  "Progress  in 
Language"  (London  1894),  an  original  and  attractive  book, 
dealing  with  the  origin  and  development  of  language  and  with 
the  question  whether  development  of  language  is  progress  or 
decay;  G.  von  der  Gabelentz  "Die  Sprachwissenschaft,  ihre 
Aufgaben,  Methoden  und  bisherigen  Ergebnisse"  (Leipzig 
1901,  2nd  edit.),  a  learned  and  thoughtful  book,  which  offers 
an  abundance  of  interesting  matters  and  the  study  of  which 
can  be  thoroughly  recommended ;  Henrv  Sweet  "New  English 
Grammar"  (Part  I,  Oxford  1900),  which  gives  clear  informa- 
tion on  the  most  important  problems  of  the  scientific  study  of 
language;  and  A.  H.  Sayce  "Introduction  to  the  Science  of 
Language"  and  "Principles  of  Comparative  Philology."  A 
short  popular  account  of  the  science  of  languages  is  given  in 
Victor  Porzezinski's  "Einleitung  in  die  Sprachwissenschaft" 
(Berlin  1910),  a  German  translation  of  a  Russian  original. 

The  psychological  study  ought  to  go  hand  in  hand  with  the 
historical.     The  student  must  not  only  have  a  clear  idea  of 


—  24  — 

how  the  phenomena  of  language  have  developed,  but  also 
how  this  development  is  affected  by  the  special  character  of  the 
people.  The  most  thorough  treatise  on  the  general  laws  of  the 
life  and  development  of  language  is  H.  Paul's  '"Prinzipien  der 
Sprachgeschichte"  (1898.  Third  Edition).  The  whole  field  of 
the  modern  science  of  language  is  treated  from  a  psychological- 
historical  point  of  view,  enabling  the  student  to  obtain  a  good 
understanding  of  all  the  important  questions.  An  adaptation 
of  the  above  work  for  English  readers  is  H.  A.  Strong  "Intro- 
duction to  the  Study  of  the  History  of  Language"  (London 
1891).  This  is  in  many  respects  a  new  book  and  presents  the 
subject  in  an  easy  form;  the  numerous  English  examples 
which  it  contains  make  it  particularly  instructive  for  English 
readers.  Another  adaptation  of  the  ideas  of  Paul's  "Prinzipien" 
with  many  excellent  examples  is  Strong,  Logeman  &  Wheeler 
"Introduction  to  the  Study  of  the  History  of  Language"  (1891). 
Students  may  also  be  advised  to  read  Oertel  "Lectures  on  the 
Study  of  Language"  (1901),  and  T.  G.  Tucker  "Introduction 
to  Natural  History  of  Language"  (1908). 

Books  of  a  more  advanced  character  for  the  same  purpose 
are:  B.  Delbriick  "Einleitung  in  das  Sprachstudium"  (1910, 
5te  Auflage;  there  is  also  an  English  version)  and  "Grundfra- 
gen  der  Sprachforschung"  (1901) — opposed  to  Wundt.  Wil- 
helm  Wundt  "Volkerpsychologie.  Eine  Untersuchung  der  Ent- 
wickelungsgesetze  von  Sprache,  Mythus  und  Sitte"  (2  Bde., 
1900) ;  Wilhelm  Wundt  "Sprachgeschichte  und  Sprachpsycho- 
logie"  (1901),  where  the  well-known  psychologist  takes  us  into 
an  immense  field  and  tries  to  show  the  evolution  of  the  most 
important  languages  of  the  earth.  Students  will  also  derive 
profit  from  the  reading  of,  von  Ginneken  "Principes  de  Lin- 
guistique  psychologique"  (1907),  L.  Siitterlin  "Das  Wesen  der 
sprachlichen  Gebilde,"  and  Wegener's  "Untersuchungen  iiber 


—  25  — 

die  Grundfragen  des  Sprachlebens,"  a  suggestive  book  dealing 
with  the  psychological  side  of  language. 

For  the  classification  of  languages  the  two  very  interesting 
summaries  "Die  Sprachstamme  des  Erdkreises"  (Leipzig 
1909)  and  "Die  Haupttypen  des  Sprachbaus"  (Leipzig  1910), 
both  written  by  the  late  Prof.  Franz  Nikolaus  Fink  of  the 
University  of  Berlin.  Lastly  the  most  important  of  H.  Stein- 
thal's  linguistic  works:  "Charakteristik  der  hauptsachlichsten 
Typen  des  Sprachbaus"  (1861)  which  was  recast  and  brought 
up  to  date  under  the  same  title  by  F.  Misteli,  is  worth  study- 
ing as  a  general  survey  of  the  different  types  of  language 
structure. 


—  26 


8.    THE  STUDY  OF  THE  HISTORY  OF  LITER- 
ATURE. 

Simultaneously  with  the  study  of  philology  the  student 
ought  to  study  the  history  of  the  literature.  Both  studies  are 
closely  associated  and  supplement  each  other.  Henry  Paul  in 
his  "Methodenlehre"  ("Grundriss  der  germanischen  Philolo- 
gie")  says:  "A  rational  study  of  literature  and  the  aesthetic 
judgment  of  the  works  is  impossible  without  a  good  philo- 
logical training." 

Too  often  it  happens  that  the  student  thinks  it  sufficient  to 
acquire  his  literary  knowledge  through  the  study  of  some 
abridged  book  of  history  of  the  literature,  in  the  same  way  as 
he  tries  to  obtain  his  language  knowledge  through  some  ele- 
mentary grammar.  Such  an  attitude  may  be  compared  to 
the  careful  examination  of  the  catalogue  of  a  picture  gallery 
without  paying  any  attention  to  the  pictures. 

A  text  on  literature  is  only  valuable  in  so  far  as  it  serves  as 
a  guide,  which  presents  the  results  in  a  systematic  order;  it 
may  be  useful  for  preparation,  for  help,  or  to  avoid  useless 
reading,  but  it  should  only  serve  as  a  means  and  not  as  an  end 
in  itself. 

The  study  of  the  Spanish  literature  has  therefore  necessarily 
to  be  accompanied  by  the  reading  of  the  principal  literary 
monuments  of  the  different  periods,  because  the  best  descrip- 
tion, or  the  most  eloquent  exposition  never  can  take  the  place 
of  the  direct  study  of  the  work  nor  the  personal  impression  it 
leaves  on  the  reader. 

Up  to  the  present  probably  the  best  history  of  Spanish  liter- 
ature is  the  "History  of  Spanish  Literature"  by  James  Fitz- 
maurice  Kelly  (London  1907).  Well  versed  in  all  the  modern 
literatures,  especially  the  French  and  English,  he  renders  his 
work  more  readable  and  valuable  by  making  striking  com- 
parisons, and  citing  references  familiar  to  the  English  reader. 
Indirectly  he  sketches  the  influence  that  Spanish  literature  had 


—  27  — 

in  Europe  and  its  relations  to  other  literatures.  In  1901  this 
work  has  fortunately  been  translated  by  Adolfo  Bonilla  y  San 
Martin,  the  Spanish  edition  containing  a  fine  introduction 
written  by  Marcelino  Menendez  y  Pelayo,  the  most  eminent  of 
Spanish  scholars  and  critics.  The  second  Spanish  edition  of 
this  book  has  been  published  in  1913,  and  is  a  translation  from 
the  French.  Another  work  by  this  distinguished  scholar  is 
"Chapters  on  Spanish  Literature"  (London  1908),  in  which  the 
subjects  treated  include  the  Cid,  the  Romancero,  Cervantes, 
Lope  de  Vega,  Calderon  and  the  Modern  Spanish  Novelists. 
This  work  has  also  been  translated  into  Spanish  and  honored 
with  a  preface  by  Rufino  Jose  Cuervo. 

A  history  of  Spanish  literature  published  in  Germany  which 
deserves  to  be  mentioned  is  Ferdinand  Wolf's  "Studien  zur 
Geschichte  der  spanischen  und  portugiesischen  Nationallitera- 
tur"  (Berlin  1859),  a  work  which  in  some  respects  is  unsur- 
passed even  today.  It  has  been  translated  into  Spanish  by 
Miguel  de  Unamuno,  the  well-known  President  of  the  Uni- 
versity of  Salamanca.  The  Spanish  edition  brings  the  studies 
up  to  date  and  contains  notes  by  Marcelino  Menendez  y  Pe- 
layo. The  "Spanische  Literatur"  by  G.  Baist  in  the  first  volume 
of  G.  Grober's  "Grundlagen  der  romanischen  Philologie" 
(Strassburg  1905)  is  a  model  of  exact  scholarship.  The  "His- 
tory of  Spanish  Literature"  by  George  Ticknor  (Boston  1888), 
especially  the  Spanish  edition  annotated  by  Gayangos  y  Vedia, 
was  considered  an  authority  for  a  long  time,  but  today  it  is 
antiquated,  although  it  has  not  lost  its  value  entirely.  Ludwig 
G.  Lemcke  in  his  "Handbuch  der  spanischen  Literatur"  (Leip- 
zig 1855 — 56)  shows  good  taste  and  independence  of  judg- 
ment. Of  less  value  is  the  "Spanish  Literature"  (London 
1909)  by  Henry  Butler  Clarke.  Students  who  know  Italian 
and  French  may  also  use  the  "Letteratura  spagnuola"  (Milano 
1882)  by  Licurgo  Cappalletti,  the  "Manuale  di  letteratura 
spagnuola"  (Milano  1907)  by  Bernardo  Sanvisenti.  and  "Pre- 
cis d'histoire  de  la  litterature  espagnole"  (Paris  1908)  by  Er- 
nest Merimee. 


—  28  - 

In  works  of  this  character,  written  by  Spaniards,  we  do  not 
possess  as  yet  anything  authoritative  and  exhaustive,  except 
the  "Historia  de  la  Lengua  y  Literatura  castellana  desde  los 
origenes  hasta  Carlos  V"  by  Julio  Cejador  y  Frauca  (Madrid 
1915).  This  book  is  written  in  a  clear  and  vigorous  style  and 
contains  an  abundance  of  notes  and  excellent  discussions  of 
various  literary  problems;  but  the  most  interesting  feature  of 
this  book  lies  in  the  combining  of  the  history  of  the  Spanish 
language  with  that  of  its  literature.  The  others  which  have 
been  published  are  nothing  more  than  a  compilation  of  literary 
data,  like  the  "Historia  critica  de  la  literatura  espaiiola"  by 
Amador  de  los  Rios,  the  "Resumen  historico-critico  de  la  li- 
teratura espafiola  segun  los  estudios  y  descubrimientos  mas 
recientes"  (Madrid  1911)  by  Angel  Salcedo  Ruiz.  This  author 
has  also  written,  together  with  Manual  Alvarez,  a  "Historia 
de  Espaiia,  resumen  critico  e  historia  grafica  de  la  civilizacion 
espaiiola"  (Madrid  1914).  Other  current  texts  on  literature 
published  in  Spain  are  those  of  Antonio  Gil  y  Zarate  (Paris 
1906);  Manuel  de  la  Revilla  y  Pedro  de  Alcantara  Garcia 
(Madrid  1898);  F.  Sanchez  de  Castro  (1890);  Prudencio  Mu- 
darra  y  Parraga  (Sevilla  1895);  and  Hermenegildo  Giner  de 
los  Rios"  (Madrid  1910).  An  extensive  summary  of  the  dif- 
ferent literary  epochs  up  to  the  beginning  of  the  XIX  century 
is  contained  in  the  "Historia  de  Espaiia  y  de  la  civilizacion 
espafiola"  (Barcelona  1900-1908)  in  4  vols,  by  Rafael  Altamira 
y  Crevea.  And  last  but  not  least  the  two  little  volumes  of  Dr. 
Beer's  "Spanische  Literaturgeschichte"  (Sammlung  Goschen) 
which  gives  a  concise,  clear  and  vivid  description  of  the 
Spanish  literature  and  contains  a  useful  bibliography,  should 
not  be  forgotten. 

On  Spanish-American  literary  history  Andres  Gonzalez 
Blanco's  "Los  Contemporaneos.  Apuntes  para  una  historia 
de  la  literatura  hispano-americana  a  principios  del  siglo  XX" 
(Paris  1909)  may  be  recommended. 

It  is  impossible  to  study  the  history  of  literature  as  an  iso- 
lated entity.    Literatures  act  and  react  upon  each  other  at  cer- 


—  29  — 

lain  periods,  and  the  student  who  seeks  to  unravel  the  literary- 
history  of  a  country  with  real  understanding  should  possess 
some  knowledge  of  these  influences  and  causes.  Works  which 
give  a  comparative  study  of  Spanish  literature  in  special  re- 
lation to  its  point  of  contact  with  the  English  literature  is 
Martin  Hume's  "Spanish  Influence  on  English  Literature" 
(London  1905),  and  Fitzmaurice-Kelly's  "The  Relations  be- 
tween Spanish  and  English  Literature." 

The  student  should  always  keep  in  mind  that  the  important 
fact  is  not  to  memorize'  titles  of  books,  names  of  authors  and 
dates,  but  to  obtain  the  right  understanding  of  the  foreign 
people  from  the  characteristic  productions  of  the  different  lit- 
erary epochs.  He  must  first  try  to  get  a  clear  survey  of  the 
chief  periods  and  their  inter-relation,  and  then  should  he  devote 
to  its  leaders  and  leading  causes  a  greater  attention.  A  mistake 
which  the  beginner  too  often  makes  is  that  he  tries  to  special- 
ize too  early,  in  the  false  supposition  that  he  will  in  this  way 
most  rapidly  obtain  a  historical-critical  sense. 

Through  the  study  of  the  principal  literary  monuments  we 
■obtain  the  characteristic  features  of  the  psychological  aspect 
of  each  period. 

Only  in  this  way  does  the  student  acquire  the  ability  to 
judge  correctly  a  literary  production.  Without  a  knowledge 
of  all  the  periods  in  their  principal  outlines  the  student  falls 
into  infructuous  dilettantism. 

The  history  of  various  branches  of  Spanish  literature  has 
also  been  separately  investigated.  For  the  history  of  dramatic 
literature  the  student  may  be  referred  to  the  admirable  and 
comprehensive  "Geschichte  der  dramatischen  Literatur  und 
Kunst  in  Spanien"  (Frankfurt  a/M.  1850)  by  Adolph  Fried- 
rich  von  Schack.  It  is  the  only  history  of  the  Spanish  drama 
which  one  can  read  from  beginning  to  end  with  interest  and 
profit.  This  work  has  been  translated  into  Spanish  without 
any  additions  of  importance,  by  Eduardo  de  Mier:  "Historia  de 
la  literatura  y  del  arte  dramatico  en  Espaha"  (Madrid  1885- 
"87).     A  very  pleasant  book  to  read   and  valuable   for  many 


—  30  - 

analyses  of  the  contents  of  less  known  plays  is  Adolf  Schef- 
fer's  "Geschichte  des  spanischen  Nationaldramas"  (Leipzig 
1890)  in  two  volumes;  the  first  volume  treating  of  the  period  of 
Lope  de  Vega  and  the  second  of  the  period  of  Calderon.  Two 
other  useful  books  are  "Le  theatre  espagnol"  (Paris  1898)  by 
Alfred  Gassier,  and  "Le  theatre  en  Espagne"  (Paris  1897)  byH. 
Lyonnet,  which  contain  a  general  view  of  the  most  modern 
Spanish  dramatic  authors.  A  scholarly  work  of  painstaking 
erudition  is  "The  Spanish  Stage  in  the  time  of  Lope  de  Vega'* 
by  Hugo  Albert  Rennert  (New  York  1909).  It  contains  chap- 
ters on  early  religious  representations  and  the  early  Corrales, 
the  staging  of  the  Comedia,  etc.  It  is  a  veritable  storehouse  of 
information  about  the  Spanish  stage  from  the  XV.  century  to 
the  middle  of  the  XVII  century. 

The  student  who  is  especially  interested  in  the  Spanish 
drama  from  its  origin  up  to  our  days,  will  find  a  good  biblio- 
graphy in  "Le  theatre  espagnol"  (Paris  1900)  by  A.  Morel 
Fatio  and  L.  Rouanet. 

The  above  list  of  works  will  be  a  guide  to  the  more  thor- 
ough study  of  the  literature,  and  with  the  aid  of  good  treatises 
on  special  epochs  and  authors  the  student  will  gradually  ac- 
quire the  ability  to  distinguish  the  wheat  from  the  chaff. 

Such  treatises  are  for  example  the  "Historia  crltica  de  la 
poesia  castellana  en  el  siglo  XVIII"  (Madrid  1893),  by  Leo- 
poldo  Augusto  de  Cueto,  Marques  de  Valmar,  in  which  is  given 
a  complete  review  of  the  literature  of  the  XVIII  century; 
"Iriarte  y  su  epoca"  (Madrid  1897)  by  Emilio  Cotarelo  y  Mori, 
wherein  the  author  gives  a  good  description  of  the  literary 
movement  during  the  second  half  of  the  XVIII  century,  or  "La 
literatura  espaiiola  en  el  siglo  XIX"  by  Francisco  Blanco  Gar- 
cia (Madrid  1891-96),  from  which  information  can  be  obtained 
as  to  the  Spanish  literature  in  the  XIX  century;  the  "Ensayos 
cnticos"  by  Juan  Valera;  the  "Historia  de  los  trovadores"  by 
Balaguer;  the  "Historia  de  las  ideas  esteticas  en  Espaiia" 
(Madrid  1883-96)  by  Marcelino  Menendez  y  Pelayo,  which 
contains  valuable   and  excellent  criticisms   on  the  history  of 


—  31  — 

Spanish  literature ;  the  " Antologia  de  poetas  castellanos"  and 
the  learned  and  interesting  work  "Origenes  de  la  novela  es- 
paiiola"  by  the  same  author. 

Many  very  able  scholars  are  following  the  instigations  of 
this  prolific  man  of  letters,  and  are  now  engaged  in  the  critical 
revision  and  edition  of  important  works  of  the  earlier  period 
of  Spanish  literature,  immense  treasures  of  which  have  been 
buried  in  the  large  libraries  of  that  country. 

A  good  little  book  dealing  with  modern  Spanish  literature 
is  Ricardo  Rojas'  "El  alma  espaiiola.  Ensayo  sobre  la  mo- 
derna  literatura  espafiola"  (Valencia  1908). 

Under  the  title  of  "Vidas  de  personajes  ilustres"  "La  Es- 
pana  Moderna"  has  published  a  series  of  short  biographies 
which  include  "Caspar  Nuiiez  de  Arce"  by  M.  Menendez  y 
Pelayo,  "Ramon  de  Campoamor"  by  Emilia  Pardo  Bazan, 
"Breton  de  los  Herreros"  by  Molins,  "Antonio  de  Trueba"  by 
Becerro  de  Bengoa,  "Juan  Eugenio  Hartzenbusch"  by  Guerra, 
"Canovas  del  Castillo"  by  Ramon  de  Campoamor,  "Tamayo  y 
Baus"  by  Ferna  Flor,  etc. 

One  of  the  best  books  which  appeared  on  occasion  of  the 
tercentenary  of  the  "Quixote"  is  the  very  interesting  and  at- 
tractive biography  "El  ingenioso  hidalgo  Miguel  de  Cervantes 
Saavedra.  Sucesos  de  su  vida  contados  por  F.  Navarro  Ledes- 
ma"  (2nd  edition,  Madrid  1914) ;  likewise  the  student  will  read 
with  great  interest  the  excellent  "Life  of  Lope  de  Vega"  which 
we  owe  to  the  distinguished  American  scholar.  Prof.  H.  A. 
Rennert. 

An  important  phase  of  literary  study  is  the  theory  of  poetry. 
A  good  fundamental  knowledge  of  Spanish  metre  is  in- 
dispensable to  the  college  student  or  the  teacher.  Informa- 
tion on  poetics,  the  character  and  laws  of  poetry,  and  its  dif- 
ferent kinds,  may  be  gathered  by  the  beginner  from  F.  Na- 
varro Ledesma's  "Lecciones  de  Literatura"  (2  vol.  2nd  edit., 
Madrid  1913).  Advanced  students  will  read  with  profit  the 
very  detailed  account  of  Spanish  metre  and  the  theory  of 
poetry  given  by  E.  Benot  in  his  "Prosodia  castellana  y  ver- 


-  32  — 

sificacion"  (3  vol.),  and  Stengel's  chapter  on  "Romance  metre" 
in  the  2nd  volume  of  Grober's  "Grundriss  der  romanischen 
Philologie." 

For  a  deeper  scientific  study  of  the  poetical  literature  of  any 
country,  one  ought  not  to  overlook  the  following  works:  K. 
Buecher  "Arbeit  und  Rhythmus,"  a  fascinating  and  stimulat- 
ing book  on  the  origin  of  meter  generally/''  E.  Neumann's 
"Untersuchungen  zur  Psychologic  und  Aesthetik  des  Ryth- 
mus"  (Wundt,  Philosophische  Studien),  and  T.  S.  Osmond 
"Metrical  Rythm"  (London  1905). 


*  Translated  into  Spanish:     K.  Buecher  "Trabajo  y  ritmo,'  Madrid 
1914. 


—  33  - 

9.     THE  STUDY  OF    THE    SPANISH   PEOPLE 
THROUGH  ITS  POETICAL  WORKS. 

Epic  and  Lyric  Poetry.    The  Drama.    The  Novel. 

All  the  manifestations  of  intellectual  life,  that  is,  the  whole 
cultural  development  of  a  people,  find  their  true  expression 
in  its  literature. 

A  student  may  gain  an  appreciation  of  the  sources  of  the 
strength  and  weakness  of  foreign  peoples  and  a  broader  sym- 
pathy with  them  through  the  careful  study  of  literary  works. 
In  this  way  the  study  of  literature  becomes  an  important  ele- 
ment of  culture. 

Spanish  literature  has  succeeded,  at  least  in  its  prominent 
productions,  in  keeping  free  from  foreign  influences;  it  has  a 
very  pronounced  national  character,  and  due  to  this,  the  pe- 
culiarity of  this  character  makes  itself  strongly  felt. 

Epic  and  Lyric  Poetry. 

Spanish  literature  began,  like  the  literature  of  most  other 
countries,  in  songs  descriptive  of  the  great  deeds  of  heroes. 
These  songs  were  short  narrative  poems  of  an  entirely  epic 
character,  some  of  them  very  old,  and  were  in  origin  eminently 
Spanish.  Spanish  are  all  its  heroes,  so  the  count  Fernan  Gon- 
zalez, the  Infantes  de  Lara,  the  Count  Garci-Fernandez,  the 
Infante  Garcia  and  the  Cid.  Later  on  the  nameless  poets  of 
the  people  were  tempted  to  deal  with  the  sinister  stories  which 
crystallised  round  the  name  of  Peter  the  Cruel,  the  last  King 
of  the  Visigoths,  Don  Rodrigo,  or  the  leones,  Bernardo  del 
Carpio,  the  long  struggle  against  the  Moors,  episodes  famous 
in  the  Arthurian  legends  and  the  books  of  Chivalry.  This 
heroic  poetry  which  flourished  in  the  X,  XI  and  XII  cen- 
turies, was  of  the  people,  great  and  small,  high  and  low;  it 
was  a  truly  national  and  popular  poetry. 


—  34  — 

The  most  popular  hero  of  these  oldest  Castilian  romances 
is  Rodrigo  Diaz  de  Vivar,  known  under  the  name  "El  Cid 
Campeador."  The  many  romances  referring  to  him  have  been 
sifted,  retouched  and  combined  into  one  poem,  the  "Poem  of 
the  Cid."  This  poem  is  one  of  the  most  famous  monuments 
of  Spanish  literature ;  it  expresses  the  national  spirit  of  that 
epoch  of  obstinate  struggle  against  the  Moors  and  tells  of  the 
gallant  deeds  of  the  Cid  and  his  triumphs  at  Zaragoza  and 
Valencia. 

Of  ballads  (romances)  Spain  has  been  exceedingly  produc- 
tive, these  being  a  favorite  form  of  poetry,  and  this  has  greatly 
contributed  to  the  rise  of  the  Spanish  drama.    They  were  pub- 
lished in  collections  (romanceros),  during  the  end  of  the  XV 
century,  and  the  romancero  is  one  of  the  most  famous  pro- 
ductions of  Spanish  literature.     In  these  beautiful  collections 
we  find  romances  dealing  with  Bernardo  del  Carpio,  Fernan 
Gonzalez  and  the  Cid  or  Charlemagne  and  his  peers.     Those 
which    are    especially    noteworthy    deal    with    the    following 
themes:  Jimena  denounces  the  murderer  of  her  father  before 
the  king,  the  Infanta  Urraca  complains  to  the  king  because  he 
disinherited  her ;  the  king  greets  the  Cid  who  returns  to  court 
after  a  long  absence;  or  the  one  of  Melisandra  y  Gaiferos  and 
of  the  Marques  de  Mantua.     Of  those  dealing  with    national 
history  the  "Rota  de  Don  Rodrigo,"  the  tragedy  of  the  count 
of  Alarcos  and  the  adventure  of  Vargas  Machuca  are  worthy 
of  mention.     Others  are  "El  amor  y  la  muerte,"  "Desafio  del 
Cid,"  "Los  Infantes  de  Lara,"  "La  Campana  de  Huesca,"  "De- 
safio del  Tarfe."    To  those  who  wish  to  read  the  very  best  of 
this  kind  the  exquisite  selection  of  romances  published  by  M. 
Foulche-Delbosc  (Barcelona  1907)  is  recommended. 

Of  the  greater  epic  poems  belonging  to  the  category  of  the 
artificial  epic,  dealing  with  subjects  appertaining  to  the  na- 
tional history,  the  chief  ones  are  "La  Araucana"  by  Alonso  de 
Ercilla,  and  "El  Bernardo"  by  Bernardo  Valbuena.  The  first 
one,  of  which  it  may  be  said  that  it  was  written  less  with  a 
pen  than  with  a  pike,  gives  the  result  of  Ercilla's  experience 


—  35  - 

in  the  heroic  and  stubborn  struggle  of  the  Spaniards  with  the 
Indians  of  Arauco.  He  interweaves  the  history  of  the  Con- 
quest of  Chile  with  attractive  descriptions  of  the  South  Ameri- 
can landscape.  The  second,  Valbuena,  takes  from  tradition 
the  most  absorbing  facts  of  history  and  of  the  character  of 
Bernardo  del  Carpio,  from  the  time  of  his  presentation  to  the 
court  of  his  uncle  Alfonso  el  Casto  until  the  death  of  Orlando 
or  Roldan  at  Roncesvalles.  Religious  epics  deserving  of  note 
are  Acevedos  "Creacion  del  mundo"  and  Diego  de  Ojedas  "La 
Cristiada."  The  mock  heroic  of  Greece  and  Italy  finds  an  echo 
in  Juan  de  la  Cueva's  "Batalla  de  ranas  y  ratones,"  Jose  de  la 
Villaviciosa's  "Mosquea"  and  Lope  de  Vega's  "Gatomaquia." 
With  the  heroic  poetry  there  grew  up  in  the  XIII  century  a 
school  of  religious  and  didactic  poetry,  the  most  eminent  ex- 
ponent of  which  is  Gonzalo  de  Berceo.  He  composed  several 
devotional  poems,  such  as  "El  duelo  de  la  Virgen,"  in  which  we 
find  a  fine  specimen  of  lyrism  in  a  song  with  certain  popular 
elements — the  "Cantica  de  la  Virgen." 

The  XIV  century  is  marked  by  the  birth  of  the  most  original 
medieval  Spanish  poet:  Juan  Ruiz,  the  Archpriest  of  Hita.  His 
lyrics  are  interspersed  among  the  narrative  portions  of  his 
"Libro  de  Cantares"  or  "Libro  de  buen  amor,"  where  he  shows 
by  his  own  experience  and  the  example  of  those  whom  he  fol- 
lows how  a  man  may  become  a  successful  lover,  interspersing 
here  and  there  many  fables  and  descriptions  of  his  disputes. 
Another  poet  who  belongs  to  the  close  of  this  century,  Pedro 
Lopez  de  Ayala,  in  his  "Rimado  de  Palacio"  satirizes  with 
great  severity  the  vices  of  all  classes  of  laymen  and  church- 
men. 

The  first  half  of  the  XV  century  is  characterized  by  the 
development  of  court-poetry,  artificial  and  pretentious,  and  by 
the  influence  of  Italian  literature  on  Castilian  prose  and  poetry. 
Those  who  occupy  a  considerable  place  in  the  literary  society 
of  this  century  are  Juan  de  Mena,  author  of  the  "Coronacion" 
and  the  "Laberinto  de  Fortuna,"  and  the  marques  de  San- 
tillana,  Ifiigo  de  Mendoza,  a  sonneteer  of  no  mean  ability.    In 


-  36  — 

the  next  generation  the  most  prominent  figures  are  Gomez 
Manrique  and  Jorge  Manrique,  whose  "Coplas  a  la  muerte 
de  su  padre"  is  a  masterpiece. 

To  complete  the  study  of  the  poetry  of  this  century  it  is 
necessary  to  refer  to  the  collection  of  court  poetry  called 
"Cancioneros,"  which  consist  of  short  pieces  of  love  plaints, 
debates,  questions  and  repartees.  The  best  known  is  the  "Can- 
cionero  General,"  published  by  Hernando  de  Castillo.  In  or- 
der to  understand  and  appreciate  these  pieces  they  must  be 
read  in  the  collections,  where  each  poem  throws  light  on  the 
others. 

The  XVI  and  XVII  centuries  are  characterized  by  a  super- 
abundance of  lyric  poetry.  Of  this  enormous  mass  of  verses 
of  all  sorts  little  still  survives,  the  names  of  most  of  the  versi- 
fiers must  be  omitted  and  it  will  be  sufficient  to  mention  Gar- 
cilaso  de  la  Vega,  who  composed  eclogues,  elegies  and  can- 
ciones.  He  shows  liveliness,  phantasy,  gayety  of  style,  elegant 
expression,  exquisite  sensibility  and  attractive  sweetness.  His 
language  is  still  alive  in  the  phrase  as  well  as  in  the  idioms, 
having  been  surpassed  by  no  writer  of  his  times.  Lyric  poets 
of  the  school  of  Garcilaso  are  Fernando  de  Herrero  whose 
odes,  "La  victoria  de  Lepanto"  is  a  model  of  good  poetry; 
Rodrigo  Caro  who  in  "Las  Ruinas  de  Italica"  sings  of  the 
transitory  character  of  human  greatness;  Vicente  Espinei, 
Francisco  de  Figueroa,  and  the  two  brothers  Bartolome  Leo- 
nardo and  Lupercio  Leonardo  de  Argensola. 

An  overstraining  of  the  importance  of  the  formal  side  of 
things  and  an  undue  straining  for  the  means  necessary  to  the 
attainment  of  perfection  of  style  led,  in  the  early  years  of  the 
XVII  century,  to  the  adoption  of  the  kind  of  lyric  mannerism, 
which  is  known  in  Spain  as  "culteranismo"  and  which  is 
paralleled  by  the  Marinism  of  Italy;  by  the  Euphuism  of  Eng- 
land, and  by  the  Preciosite  of  France. 

Luis  de  Gongora  was  the  founder  of  this  artificial  style, 
which  is  therefore  often  called  Gongorism.  Its  bombastic  and 
obscure  style  is  characterized  by  sonorous  diction  and  artificial 


—  37  — 

arrangements  of  phrase.  Gongora  is  a  poet  of  really  great 
powers  and  as  often  as  he  contended  with  "Romances"  he 
finds  true  poetic  accents,  ingenious  ideas  and  felicitous  ex- 
pressions. Quevedo,  much  greater  in  prose  than  in  verse, 
displays  real  power  only  in  satire,  epigram  and  parody.  Some 
of  his  satiric  and  burlesque  romances,  of  which  several  are 
written  in  slang  (germania),  are  in  their  way  little  master- 
pieces. 

The  religious  lyric  may  be  found  in  such  masters  of  style  as 
San  Juan  de  la  Cruz  (Cancion  entre  el  alma  y  Cristo"),  Santa 
Teresa  de  Jesus  ("El  amor  a  Jesus")  and  Fray  Luis  de  Leon, 
who  has  composed  verses  which  rank  with  the  most  sublime 
in  the  language.  His  odes  are  admirable,  his  best  being  "La 
Ascencion  de  Jesu  Cristo,"  "La  profecia  del  Tajo,"  "La  vida 
del  campo"  and  "La  noche  serena."  He  is  also  the  author  of 
a  most  sensible  little  manual  of  domestic  economy  written  in 
prose,  "La  perfecta  casada." 

Spanish  thought  as  well  as  public  spirit  and  all  forms 
of  national  activity  began  to  decline  towards  the  close  of  the 
XVni  century.  The  lyric  poetry  of  this  period  is  poor  and 
colorless  when  compared  with  the  splendor  in  the  preceding 
century.  Nevertheless  one  or  two  poets  can  be  named  who 
possessed  refinement  of  taste  and  whose  collection  of  verse 
show  respect  for  the  language.  At  the  head  stands  Juan  Me- 
lendez  Valdes,  whose  little  volume  of  lyrics  shows  more  true 
poetic  sentiment  than  anything  that  has  preceded  it  since  the 
days  of  the  masters  of  the  XVI  and  XVH  centuries;  admir- 
able are  "La  presencia  de  Dios"  and  "Las  miserias  humanas." 
With  him  are  associated  Fray  Diego  Gonzalez  ("El  murcielago 
alevoso"),  Jose  Iglesias  de  la  Casa,  known  by  his  letrillas, 
Cienfuegos  and  some  others.  Among  the  verse  writers  who 
produced  odes  and  didactic  poetry  it  is  only  necessary  to  men- 
tion Manuel  Jose  Quintana  ("Al  mar"  and  "A  Guzman  el 
Bueno");  Felix  Maria  de  Samaniego  and  Tomas  de  Iriarte, 
who  wrote  fables  which  are  nearly  the  best  of  their  kind. 

In  the  thirties  of  the  XIX  century  the  romantic  movement 


began  to  appear  in  the  Spanish  peninsula.  The  first  decidedly 
romantic  poet  was  the  duke  of  Rivas,  Angel  de  Saavedra, 
whose  romantic  principles,  shown  in  the  drama  "Don  Alvaro" 
and  the  epic  poem  "El  moro  exposito,"  govern  also  his  lyric 
"El  faro  de  Malta."  In  the  person  of  Jose  de  Espronceda,  the 
author  of  the  fragmentary  poem  "El  diablo  mundo"  and  of 
the  "Estudiante  de  Salamanca"  we  have  an  exclusively  lyric 
poet,  who  did  not  live  long  enough  to  give  full  proof  of  his 
genius,  but  what  he  has  left  is  often  exquisite,  for  example. 
"Himno  al  sol,"  "La  cancion  del  pirata,"  "El  mendigo."  Lyric 
supremacy  is  disputed  with  Espronceda  by  Jose  Zorrilla,  who 
is  more  flexible  and  exuberant,  but  of  much  more  unequal  talent 
than  Espronceda,  and  by  Gustavo  Adolfo  Becquer,  author  of 
the  "Rimas."  Two  other  national  poets  are  Ramon  de  Cam- 
poamor  and  Nufiez  de  Arce.  Campoamor  follows  the  tradition 
of  immemorial  antiquity  by  expressing  lyrical  emotion  in  four 
or  eight  lines  which  finds  its  most  homely  manifestation  in  the 
"Doloras;"  and  Nunez  de  Arce  shows  himself  to  be  a  true  poet 
in  the  'Gritos  de  combate,"  in  the  "Idilio"  and  in  "La  pesca." 

The  most  interesting  of  the  younger  poets  are  provincials; 
thus  Salvador  Rueda  in  his  "Aires  Espaiioles"  represents  the 
vivid  coloring  of  Andalucia;  Vicente  Medina  in  "Aires  Mur- 
cianos"  and  "La  cancion  de  la  huerta"  reproduces  with  vivid 
intensity  the  atmosphere  of  the  Murcian  orchard-country.  The 
list  of  Spanish  poets  may  close  with  the  name  of  Jose  Maria 
Gabriel  y  Galan,  whose  reputation  depends  chiefly  on  the 
poem  entitled  "El  ama"  in  "Castellanas,"  a  poem  which  is  un- 
surpassed in  modern  Spanish  poetry. 

Among  the  many  good  Spanish-American  poets  worth  men- 
tioning on  account  of  the  unquestionable  value  of  their  poeti- 
cal compositions  are  the  following:  Andres  Bello  (Venezuela) 
"La  oracion  por  todos,"  "Oda  a  la  agricultura  de  la  zona  tor- 
rida;"  Jose  Maria  Heredia  (Cuba)  "Al  Niagara,"  "Al  hura- 
can;  Gabriel  de  la  Concepcion  Valdes  (Cuba)  "Jicontencal;" 
Manuel  Acuiia  (Mexico)  "Sursum,"  "A  los  heroes  sin  nombre," 
"Redenti;"  Juan  de  Dios  Peza  (Mexico) ;  Jose  Joaquin  Olmedo 


—  39  — 

(Ecuador)  Ricardo  Palma  and  Jose  Santos  Chocano  (Peru) 
"La  campesina,"  "La  quebrada,"  "La  epopeya  del  Pacifico;" 
Jertrudis  Gomez  de  Avellaneda  (Cuba) ;  Eusebio  Lillo  (Chile); 
Pedro  Antonio  Gonzalez  (Chile);  Olegario  V.  Andrade  (Ar- 
gentine) "La  palabra  futura;"  Diego  Duble  Urrutia  (Chile) 
"Las  minas;"  Isaias  Gamboa  (San  Salvador)  "Primavera." 

Of  good  anthologies  there  are  a  great  number.  The  best  and 
completest,  undoubtedly,  are  the  "Antologia  de  poetas  liricos 
castellanos  desde  la  formacion  del  idioma  hasta  nuestros  dias" 
(11  vol.)  and  the  "Antologia  de  poetas  hispano-americanos," 
edited  by  Marcelino  Menendez  y  Pelayo  (4  vol.)  But  thesef 
editions  are  too  expensive  for  ordinary  purposes. 

Among  the  numerous  books  w^hich  contain  selections  from 
the  best  Spanish  writers  in  prose  and  verse  and  all  of  which 
will  be  found  of  moderate  price  are :  Carlos  Ochoa  "Antologia 
espariola.  Coleccion  de  trozos  escogidos  de  los  mejores  hab- 
listas  en  prosa  y  verso  desde  el  siglo  XV  hasta  nuestros  dias;" 
M.  Jose  Quintana;  "Tesoro  del  Parnaso  Espafiol,  Poesias 
selectas  castellanas  desde  el  tiempo  de  Juan  de  Mena  hasta 
nuestros  dias;"  Angel  Maria  Terradillos  "Coleccion  de  trozos 
y  modelos  de  la  literatura  espaiiola ;"  Alejandro  Gomez  Ranera 
"Coleccion  de  trozos  escogidos;"  Eugenio  Garcia  y  Barbarin; 
"Prosa  y  verso;"  F.  Navarro  y  Ledesma  "Lecturas  literarias 
para  el  estudio  de  la  lengua  y  literatura  espafiolas;"  C.  Saiz 
"Lecturas  escolares.  Notas  historicas  y  paginas  selectas  de 
literatura  castellana,"  and  R.  Mesa  y  Lopez  "Antologia  de  los 
mejores  poetas  castellanos."  To  this  list  I  should  like  to  add 
"America  poetica — Poesias  selectas  americanas  con  noticias 
biograficas  de  los  autores"  and  "Poetisas  americanas,"  both  by 
Jose  Domingo  Cortes;  C.  Romagosa  "Joyas  poeticas  america- 
nas.— Coleccion  de  poesias  escogidas  originales  de  autores 
nacidos  en  America;"  "Antologia  Americana — Coleccion  de 
las  mas  escogidas  composiciones  poeticas  de  los  principales 
escritores  de  las  republicas  hispano-americanas,"  and  "La 
joven  literatura  hispano-americana  Pequeiia  antologia  de 
prosistas  y  poetas,"  were  Manuel  Ugarte  gives  a  general  view 
of  the  most  recent  Latin-American  literature. 


—  40  — 

The  Spanish  Drama. 

The  Spanish  drama  is  national  in  all  its  forms,  in  origin  as 
well  as  in  character.  It  gives  the  fullest  expression  of  the 
greatest  glory  of  the  Spanish  literature.  "There  is  no  other 
example  of  so  complete  an  adaptation  of  national  art  to  the 
national  taste  and  sentiment  in  its  ethics,  aesthetics,  in  the 
nature  of  the  plots  of  the  plays,  in  the  motives  of  their  actions, 
in  the  conduct  and  tone,  and  in  the  very  way  of  their  charac- 
ters." Drama  was  always  popular  and  prosperous  all  over  the 
country,  and  the  dramatic  production  is  without  parallel  in 
the  literature  of  the  world.  Lope  de  Vega,  the  great  founder 
of  the  national  drama,  who  heads  the  list  of  playwrights  with 
about  1800  plays  and  over  200  autos,  would  alone  suffice  for 
an  entire  nation. 

The  foundation  of  the  Spanish  theatre  was  laid  by  "La  Ce- 
lestina,  tragicomedia  de  Calixto  y  Melibea"  in  21  acts  by  Fer- 
nando de  Rojas,  a  book  which,  strictly  speaking,  does  not  be- 
long to  the  theatre.  This  astonishing  work  taught  the  Span- 
iards the  art  of  dialogue,  and  for  the  first  time  exhibited 
persons  of  all  classes  of  society,  particularly  the  lowest,  speak- 
ing in  harmony  with  their  natural  surroundings.  The  story 
is  told  so  vigorously  and  with  so  much  humor  and  observa- 
tion, and  with  such  sense  of  character  as  to  mark  an  epoch  in 
the  drama.  Its  great  success  gave  rise  to  many  imitations 
and  it  was  almost  immediately  translated  into  Italian,  French 
and  English.  There  had  rarely  been  a  book  so  popular  as  this 
before,  and  at  the  end  of  the  XVI  century  the  book  was  in 
the  hands  of  every  cultured  reader  in  Europe. 

The  man  who  may  be  considered  as  the  founder  of  the  na- 
tional theatre  in  Spain,  was  Lope  FeHx  de  Vega  Carpio,  the 
most  extraordinary  literary  genius  the  world  has  ever  seen, 
who  for  nearly  half  a  century  reigned  supreme  on  the  stage, 
permanently  established  the  national  forms  of  the  Spanish 
drama,  and  left  deep  traces  upon  the  drama  down  to  our  own 
days.    The  number  of  enduring  masterpieces  among  his  works 


_  41  — 

is  remarkably  large,  especially  in  the  case  of  his  historical 
dramas,  such  as  "El  acero  de  Madrid,"  "La  Estrella  de  Sevilla," 
"El  mejor  alcalde  el  Rey,"  and  "El  castigo  sin  venganza." 
But  great  as  he  is  in  tragedy,  he  is  greater,  or  more  frequently 
great  in  contemporary  comedy,  in  the  realisation  of  character. 
"El  perro  del  hortelano,"  "Las  flores  de  Don  Juan,"  "La  ba- 
talla  del  honor,"  "Los  melindres  de  Belisa,"  "La  esclava  del 
galan,"  "Los  Tellos  de  Meneses,"  "La  moza  del  cantaro,"  are 
there  to  prove  it. 

As  to  the  dramatic  poets  of  the  Golden  Age,  even  more  nu- 
merous than  the  lyric  poets  and  the  romancers,  all  are  more  or 
less  imitators  or  followers  of  Lope.  We  may  mention  two  of 
the  most  successful  ones :  Guillen  de  Castro,  who  wrote  the 
drama  which  made  him  famous,  "Las  mocedades  del  Cid," 
from  which  Corneille  derived  his  inspiration,  being  a  dramat- 
ization of  the  romances  of  the  Cid;  and  Luis  Velez  de  Gue- 
vara, who  cast  in  dramatic  form  the  savage  heroism  of  Alonso 
Perez  de  Guzman  el  Bueno  in  Tarifa,  in  his  comedy,  "Mas  pesa 
el  Rey  que  la  sangre." 

In  talent  Lope  was  most  nearly  approached  by  Fray  Gabriel 
Tellez,  known  also  by  the  pseudonym  Tirso  de  Molina,  and, 
chronologically  speaking,  the  second  of  the  six  great  dramatists 
of  the  age.  His  historical  drama  "La  prudencia  en  la  mujer" 
is  one  of  the  best  works  in  Spanish  literature,  "El  vergonzoso 
en  Palacio"  one  of  his  best  comedies;  and  the  drama  which 
made  his  name  immortal,  "El  Burlador  de  Sevilla  y  Convidado 
de  Piedra,"  inspired  men  like  Mozart  and  Lord  Byron. 

Juan  Ruiz  de  Alarcon  is  the  third  of  the  most  illustrious 
dramatists.  His  best  comedies  are  those  of  customs,  and  the 
best  of  all  is  "La  verdad  sospechosa."  Others  which  enjoy 
just  fame  are  "El  tejedor  de  Segovia,"  "Ganar  amigos,"  "Las 
paredes  oyen"  and  "El  examen  de  maridos"  among  others. 
His  principal  merits  are  characterization  and  a  high  moral  aim. 

Except  in  invention  and  in  brilliant  facility,  the  dramatists 
of  Lope's  time  were  not  greatly  inferior  to  the  master.  In 
certain  qualities  Tirso  de  Molina,  the  most  flexible,  ingenious 


—  42  — 

and  inventive  dramatist,  and  Ruiz  de  Alarcon,  the  most  serious 
and  most  observant  of  Spanish  dramatic  poets,  are  superior 
to  him.  Tirso  in  force  and  in  malicious  humor,  Ruiz  de  Alar- 
con in  depth  and  in  artistic  finish. 

The  glories  of  Spanish  dramatic  literature  reached  their 
height  in  Pedro  Calderon  de  la  Barca,  the  second  great  master 
of  the  Spanish  drama.  He  succeeded  Lope  de  Vega  as  dictator 
of  the  stage,  marking  the  second  period  of  the  Spanish  clas- 
sical drama.  Though  not  in  any  sense  more  Spanish  than 
Lope  de  Vega,  Calderon  seems  to  be  more  intensely  national, 
for  he  established  a  series  of  conventional  conceptions  of  loy- 
alty, honor,  love  and  jealousy.  Typical  plays  are  "A  secreto 
agravio  secreta  venganza,"  "El  medico  de  su  honra,"  "El 
mayor  monstruo  los  celos."  His  comedies  de  capa  y  espada — 
the  favorite  species  of  the  national  Spanish  theatre,  in  which 
the  principal  personages  are  taken  from  the  class  of  society 
that  wears  cloak  and  sword — where  he  embodies  the  accepted 
ideas  of  religion  and  honor  in  Spain  during  the  XVII  century, 
are  "La  dama  duende,"  "La  banda  y  la  flor,"  and  "Ante  que 
todo  es  mi  dama."  His  best  religious  plays  are :  "El 
magico  prodigioso,"  "El  purgatorio  de  San  Patricio,"  "La 
devocion  de  la  cruz,"  and  his  heroic  drama  "El  principe  con- 
stante."  A  fine  symbolic  play  is  "La  vida  es  suefio,"  in  w^hich 
he  endeavored  to  give  dramatic  reality  to  one  of  the  most 
transcendental  of  ideas,  and  two  other  of  his  best  ones  are 
"Amar  despues  de  la  muerte"  and  "El  alcalde  de  Zalamea," 
where  he  has  transformed  one  of  Lope's  dashing  improvisa- 
tions into  a  most  powerful  drama. 

Calderon  was  imitated  as  Lope  had  been.  Two  contempor- 
aries who  deserve  to  be  cited  along  with  him  are :  Francisco 
de  Rojas  Zorilla  and  Agustin  Moreto  y  Cabana.  Zorilla's 
most  remarkable  work  is  "Del  Rey  abajo  niguno,"  the  alter- 
native title  of  "Garcia  del  Castafio,"  where  this  author  is  at 
his  strongest.  Few  cloak-and-sword  plays  are  better  worth 
reading  than  his  "Donde  no  hay  agravios,  no  hay  celos,"  or 
than  "Sin  honra  no  hay  amistad,"    or    than    "No    hay    amigo 


—  43  — 

para  amigo."  In  Moreto's  "El  desden  con  el  desden"  the  char- 
acters are  full  of  life  and  interest  and  the  dialogue  sparkles 
with  mischievous  gayety.  It  is  one. of  the  most  graceful  and 
charming  works  of  art,  simple  but  interesting  in  plot,  and  true 
to  nature  with  something  like  Shakespearean  truth. 

National  as  the  Spanish  drama  was,  and  because  of  this  very 
quality,  it  was  fated  to  share  the  lot  of  the  people  it  so  fully 
represented.  The  national  art  had  fallen  into  decline  and  de- 
cay along  with  the  spirit  of  Spain  itself. 

At  an  earlier  period  French  writers  had  borrowed  much, 
especially  in  plot  and  incident,  from  Spanish  plays  and  novels, 
but  n9w  up  to  the  beginning  of  the  XIX  century,  the  Spanish 
literature  fell  entirely  under  the  influence  of  the  French.  The 
only  writer  who  was  really  successful  in  composing,  on  the 
French  pattern,  some  pleasant  comedies  is  Leandro  Fernandez 
de  Moratin,  called  the  Spanish  Moliere.  His  best  comedies 
are  "La  mojigata,"  "El  viejo  y  la  niiia"  and  "El  si  de  las  ninas," 
which  raised  him  to  the  foremost  position  among  the  drama- 
tists of  his  age.  They  are  as  good  in  portrayal  of  character 
as  in  dialogue  and  faithful  description  of  the  manners  of  his 
time. 

If  one  wishes  to  appreciate  the  life  of  the  Spanish  capital 
and  the  curious  Spanish  society  of  the  reign  of  Charles  IV,  the 
short  burlesque  comedies  called  "sainetes" — "El  Prado  por  la 
noche"  and  "Las  tertulias  de  Madrid" — of  Ramiro  de  la  Cruz 
y  Cano,  a  writer  of  genuine  talent  and  the  most  popular  poet 
of  the  XVIII  century,  offer  excellent  opportunity. 

The  classical  school  is  represented  by  Manuel  Jose  Quin- 
tana  in  the  tragedy  "Pelayo."  The  historical  drama  was 
preferred  and  remained  a  favorite  for  the  next  decades.  Some 
historical  dramas  worthy  of  the  great  achievements  of  the 
Spanish  stage  were  produced,  such  as  "Don  Alvaro  o  la  fuerza 
del  sine,"  by  the  duque  of  Rivas,  the  first  decidedly  romantic 
poet ;  "Nuiio"  by  the  Cuban  authoress  Gertrudis  Gomez  de 
Avellaneda;  "Marcela,"  "Un  tercero  en  discordia"  and  "Mue- 
rete!  y  veras"  by  Breton  de  los  Herreros ;  "Guzman  el  Bueno" 


—  44  — 

by  Gil  y  Zarate;  while  Jose  Zorilla's  powerful  but  gloomy  ro- 
mantic melodramas  "El  zapatero  y  el  Rey"  and  "Don  Juan 
Tenorio"  exhibit  unmistakably  his  literary  genius.  The  "Don 
Juan,"  a  new  version  of  the  legend  treated  by  Tirso  de  Molina 
and  Moliere,  belongs  to  the  most  curious  specimens  of  the 
Spanish  stage  and  always  draws  a  full  house  when  it  is  pre- 
sented yearly  on  "All  Saints  day."  Although  Manuel  Breton 
de  los  Herreros  gained  his  repute  mainly  as  a  writer  of  lively 
dramas  of  manners,  in  his  masterpiece,  the  comedy  entitled 
"Escuela  del  matrimonio,"  he  paved  the  way  for  the  coming 
psychological  drama  of  Lopez  de  Ayala  and  Tamayo  y  Baus, 
Abelardo  Lopez  de  Ayalo  gives  us  in  his  mercilessly  socio- 
logical play  "El  tanto  por  ciento"  a  detailed  analysis  of  the 
modern  greed  for  wealth  that  has  stifled  the  nobler  instincts  of 
man  and  made  him  capable  of  the  basest  treachery,  and  in  his 
"Consuelo"  he  makes  another  powerful  attack  upon  the  posi- 
tivism and  the  lack  of  idealism  in  our  modern  life.  The  psycho- 
logical development  is  also  obvious  in  the  work  of  Manuel 
Tamayo  y  Baus.  In  "Lo  Positivo"  he  treats  the  positivism  of 
the  modern  world  with  no  less  severity  than  does  Ayala,  and 
in  his  chief  play  "Un  drama  nuevo"  he  brings  before  us 
Shakespeare  as  one  of  the  characters.  The  successor  of  Ta- 
mayo y  Baus  in  popular  esteem  is  Jose  Echegaray,  the  most 
noteworthy  dramatist  of  modern  times,  although  only  a  su- 
perficial talent  like  the  younger  Dumas.  His  drama  "El  gran 
galeoto"  and  "O  locura  o  santidad,"  where  he  attempts  the 
solution  of  social  problems,  are  his  best  known.  Echegaray 
ruled  the  Spanish  stage  till  the  end  of  the  XIX  century.  Nuiiez 
de  Arce,  a  deeper  mind,  treats  modern  problems ;  he  knows 
how  to  hide  his  lack  of  dramatic  talent  through  exact  histori- 
cal truthfulness,  so  well  illustrated  in  his  impressive  drama 
"El  haz  de  leiia,"  which  met  with  much  approval.  One  who 
chose  the  stage  for  the  exposition  of  his  liberal  ideas  was  Se- 
gismundo  Pey-Ordeix,  who  gave  the  sensation  of  an  anti- 
Jesuitic  drama — "Paternidad" — written  by  a  priest.  At  the 
same  time  the  followers  of  Ibsen  were  imitated,  for  which  the 


—  45  — 

"Musa"  of  Salvador  Rueda,  and  "La  mujer  de  Loth"  by  Euge- 
nic Selles  are  examples.  As  in  Italy  and  France,  other  species 
of  drama  were  revived :  the  lofty  tragedy  in  verse  in  "Neron" 
by  Juan  Antonio  Cavestany ;  in  the  "Doiia  Maria"  by  Eduardo 
Marquina;  in  the  "Esclava"  by  Federico  Oliver. 

Mention  must  also  be  made  of  Leopoldo  Cano  y  Masas, 
whose  best  production  is  "La  Pasionaria,"  an  admirable  ex- 
ample of  concise  and  pointed  dialogue,  of  Jose  Feliu  y  Codina, 
a  Catalan,  who  wrote  two  vigorous  plays  entitled  "La  Do- 
lores" and  "Maria  del  Carmen,"  and  Jacinto  Benavente,  a 
dramatist  whose  mordant  vigor  and  knowledge  of  stage-effect 
is  manifest  in  "La  comida  de  la  fieras"  and  "Rosas  de  Otoiio." 
The  most  promising  writers  for  the  Spanish  stage  at  the 
present  time  are  Serafin  Alvarez  Quintero  and  his  brother 
Joaquin,  to  whose  collaboration  are  due  "El  ojito  derecho" 
and  "Abanicos  y  panderetes." 

Besides  these  authors  the  Catalan  Angel  Guimera  is  de- 
serving of  m^ention.  Most  of  his  plays  have  been  played  in 
Spanish.  His  main  work  is  considered  "La  pecadora,"  a  mod- 
ern society  play,  a  variation  of  the  theme  of  Camille.  He  is 
best  known  by  his  tragedy  "Tierra  Baja"  (Martha  of  the  Low- 
lands) which  has  been  played  with  much  success  in  America. 

The  Spanish  Novel. 

The  novel  is  a  large  picture  of  human  life ;  it  reflects  the  dif- 
ferent aspects  of  human  existence  and  expresses  the  ideas,  sen- 
timents and  aspirations  of  a  people. 

The  department  of  imaginative  literature  in  which  the  genius 
of  the  Spanish  nation  revealed  itself  with  most  vigor  and 
originality  besides  the  drama  is  the  novel,  and  it  is  in  Spain 
where  we  have  to  look  for  the  source  of  the  modern  novel. 

It  is  in  this  field  that  the  student  needs  a  guide,  as  it  is 
easier  for  him  to  obtain  information  about  the  important  works 
of  poetry  and  dramatic  art  than  about  those  of  the  immense 
mass  of  fiction,  which  annually  overflows  the  book-market  in 
an  ever-increasing  wave. 


—  46  — 

Prose  narrative  in  Spain  practically  begins  in  the  XV  cen- 
tury with  chronicles  and  romances  of  chivalry,  "Libros  de 
caballeria."  The  first  and  best  novel  of  this  sort  which  sums 
up  once  more  all  the  feelings  and  sentiments  of  declining 
chivalry  is  the  "Amadis  de  Gaula."  Its  style  is  good  and  the 
adventures  are  interesting.  This  was  the  only  book  of  its 
class  which  is  saved  from  the  burning  in  Don  Quixote.  Imita- 
tions by  the  dozen  followed  rapidly  one  after  the  other,  but 
these  are  for  the  most  part  caricatures  of  the  Amadis,  only  the 
lakes  are  deeper,  the  giants  are  bigger,  the  monsters  fiercer, 
and  so  is  the  language  in  which  they  are  written. 

When  the  books  of  chivalry  began  to  decay,  there  arose  the 
insipid  and  artificial  pastoral  romance,  the  "Novela  pastoral," 
a  barren  product  rooted  in  a  false  convention.  The  most  fa- 
mous is  the  "Diana  enamorada"  by  Jorge  de  Montemayor, 
which  naturally  called  forth  many  imitators. 

In  the  foregoing  two  classes  of  novels  the  historic-heroic 
and  the  sentimental-phantastic  tendencies  are  represented.  As 
a  reaction  from  the  Spanish  romances  of  chivalry,  which  had 
been  carried  to  an  undue  extreme,  a  third  class,  the  realistic- 
comic  or  picaresque  and  peripatetic  novels,  became  famous. 
This  new  type  of  a  novel  arose  with  the  publication  of  the  first 
romance  of  roguery,  "Novela  picaresca,"  "La  vida  de  Lazarillo 
des  Tormes.  y  de  sus  fortunas  y  adversidades,"  which  is  gen- 
erally attributed  to  Diego  Hurtado  de  Mendoza,  the  author  of 
the  not  less  classical  "Guerra  de  Granada."  This  highly  enter- 
taining book,  which  has  been  called  the  16th  century  Pick- 
wick, is  written  in  the  most  brilliant  and  classical  Castilian,  is 
full  of  ingenious  inventions  and  sharp  observation,  and  is  still 
read  with  the  same  edification  and  pleasure  as  in  the  time  of 
its  publication  over  three  centuries  ago. 

Three  other  famous  books  of  this  kind,  in  which  the  various 
types  that  went  to  make  up  Spanish  society  of  the  day  are 
portrayed,  are  "Vida  del  picaro  Guzman  de  Alfarache"  by  Ma- 
teo Aleman;  the  "Relaciones  de  la  vida  del  Escudero  Marcos 
de  Obregon"  by  Vicente  Espinel    and  "El  gran  Tacario"    by 


—  47  — 

Francisco  Gomez  de  Quevedo  y  Villegas,  the  greatest  satirical 
genius  that  the  Spanish  race  has  produced,  and  one  of  the  most 
vigorous  and  original  writers  of  the  XVII  century.  This  book 
was  called  on  the  title-page  "Historia  de  la  vida  del  Buscon, 
llamado  Don  Pablos.  Ejemplo  de  Vagamundos  y  espejo  de 
Tacafios."  It  is  perhaps  not  as  fresh  as  the  Lazarillo  but  it  is 
in  every  way  superior  to  the  Guzman  de  Alfarache  and  the 
Marcos  de  Obregon.  Nothing  escapes  his  scrutinizing  spirit 
and  pitiless  irony.  All  vices  of  contemporary  society  are  re- 
morselessly pilloried  and  cruelly  dissected.  Its  satire  is  savage 
in  its  ferocity;  while  its  humor  is  unequaled  by  anything  but 
the  Don  Quixote. 

Of  the  many  other  less  famous  Spanish  novels  of  roguery 
little  need  be  said  in  detail  since  they  are  founded  on  the  same 
model. 

But  above  all  these  productions  stands  one  of  the  wisest 
and  wittiest  of  books,  the  admirable  satirical  novel  "Don  Qui- 
xote de  la  Mancha,"  the  masterpiece  which  has  made  the 
name  of  Miguel  de  Cervantes  Saavedra  immortal ;  a  book 
which  in  itself  is  equal  to  a  library  of  novels;  a  monument, 
which  will  endure  so  long  as  humor,  wisdom  and  romance  en- 
chant mankind,  and  which  has  become  the  foundation  stone 
of  the  modern  novel  and  in  this  sense  marks  an  epoch  in  the 
intellectual  life  of  humanity.* 


*  Anyone  who  wishes  to  become  well  acquainted  with  Spain  and 
the  Spaniards  and  who  wishes  to  study  thoroughly  the  conditions 
prevailing  in  that  country  should  not  neglect  to  read  first  of  all  this 
novel  which  Cervantes  published  in  1605.  The  descriptions,  which 
are  in  many  respects  true  even  today,  give  testimony  to  the  most 
careful  observation  of  the  country  as  well  as  of  an  analysis  of  the 
character  of  the  Spanish  people. 

One  ought  not,  of  course,  consider  this  novel  simply  as  a  sample 
of  amusing  literature,  for  in  that  case  it  will  seem  quite  insignificant; 
it  must  be  read  for  what  it  is  in  reality,  as  a  satirical,  symbolical 
work.  Few  books  can  be  found  in  the  world's  literature  which  can 
equal,  or  even  favorably  compare,  with  this  work,  as  regards  variety 
of  contents,  depth  of  thought  and  ethics.  And  it  is  especially  this 
ethical  value  which  has  made  this  work  what  it  is:  a  classic  that  be- 
longs not  to  a  people  only,  but  to  all  humanity. 


—  48  _ 

The  XVIII  century  was  an  age  of  barrenness  in  Spain,  so 
far  as  romance  is  concerned.  With  the  single  exception  of  the 
Jesuit  Jose  Francisco  Isla,  no  Spanish  novelist  of  this  time 
finds  readers  now.  We  find  only  one  valuable  composition 
and  that  is  the  amusing  though  rather  long-winded  "Historia 
del  famoso  predicador  Fray  Gerundio  de  Campazas,  alias  Zo- 
tes"  by  Isla,  a  work  in  which  he  ridiculed  unmercifully  the 
extravagance,  ignorance  and  pedantry  that  characterized  most 
of  the  pulpit  eloquence  of  his  time.  It  is  an  attempt  to  do  for 
pulpit  profanity  what  Don  Quixote  had  done  for  chivalresque 
extravagances.  This  author  translated  also  Le  Sage's  "His- 
toria de  Gil  Bias  de  Santillana,"  the  greatest  and  best  picar- 
esque novel  of  them  all,  Spanish  in  tone  and  feeling,  with  the 
added  keen  lucidity  of  the  French  mind. 

Not  until  about  the  middle  of  the  last  century  does  any 
notable  novelist  appear.  The  most  brilliant  prose-writer 
Spain  has  produced  during  the  XIX  century  is  Mariano  Jose 
de  Larra,  who  prepared  the  way  for  the  novels  of  manners, 
Novela  de  costumbres,  by  his  "Articulos  de  costumbres  y  po- 
liticos."  Caustic  in  temper,  of  a  keenly  observant  spirit,  re- 
markably sober  and  clear  as  a  writer,  he  was  especially  suc- 
cessful in  the  political  pamphlet  in  which  he  ridicules  without 
pity  the  vices  and  oddities  of  his  contemporaries. 

The  first  original  writer  of  this  period  to  give  a  genuinely 
Spanish  story  is  Fernan  Caballero  (Cecilia  Bohl  de  Faber),  who 
in  her  first  novel  "La  Gaviota" — a  book  probably  more  read 
by  foreigners  than  any  Spanish  book  of  the  century — gives  us 
a  true  picture  of  common  life  in  an  Andalusian  village.  She 
may  be  considered  as  the  pioneer  of  realism,  which  was  tem- 
porarily checked  by  the  romantic  movement.  The  naturalistic 
school  in  Spain  found  its  first  advocate  and  exponent  in  Ar- 
mando Palacio  Valdes,  who  gained  distinction  by  his  novels 
dealing  with  the  life  and  customs  of  the  Spanish  people,  as 
for  instance  "Los  Majos  de  Cadiz,"  in  which  he  gives  us  ac- 
curate pictures  of  Andalusian  peasant  life.     Another  novelist 


—  49  — 

of  this  group  is  Emilia  Pardo  Bazan,  the  most  gifted  lady 
writer  Spain  has  produced  in  the  XIX  century.  "Las  Pasos 
de  Ulloa,"  "Madre  Naturaleza"  and  "Insolacion"  should  be 
mentioned,  where  she  shows  her  vigorous  portraiture  of  the 
Galician  peasantry  and  her  art  as  a  landscape  painter.  Closely 
related  to  these  three  representatives  of  the  older  school  of 
naturalism  is  the  brilliant  critic  Leopoldo  Alas  (Clarin).  Alas' 
analytical  novel  "La  Regenta"  is  one  of  the  best  conemporary 
works  of  fiction,  and  although  it  has  had  the  distinction  of 
being  condemned  by  critics  who  have  never  read  it,  it  will  be 
read  long  after  his  pungent  and  excellent  criticisms  are  for- 
gotten. 

Another  master  of  diction  who  has  raised  the  novel  of  man- 
ners to  a  higher  level  than  ever  before  is  Jose  Maria  de  Pe- 
reda.  He  is  the  founder  of  the  modern  school  of  realistic  fic- 
tion in  Spain.  In  his  chief  works  he  has  portrayed  life  on  the 
mountains  and  at  the  seaside  in  a  way  hardly  to  be  excelled 
for  detail  and  charm  of  description.  The  "Don  Gonzalo  Gon- 
zalez de  la  Gonzalera,"  "Sotileza"  and  "Penas  arriba"  show 
him  in  the  fullness  of  his  power.  When  he  deals  with  country 
folk,  sailors,  fishermen,  aspect  of  sea  and  land,  he  deserves  the 
highest  praise.  His  personages  are  pleasingly  human  in  their 
strength  and  weakness,  and  no  one  who  has  once  met  them 
can  forget  them.  The  collection  entitled  "Tipos  trashuman- 
tes"  contains  admirable  examples  of  his  dexterity  in  malicious 
portraiture  and  are  models  of  cruel  irony  and  caustic  humor. 

A  perfect  contrast  in  every  way  is  Juan  Valera.  He  is  a 
born  master  of  style  and  possesses  the  richest  and  most  cul- 
tured mind  in  Spain.  Speaking  broadly,  the  characteristics 
of  the  best  Spanish  art  are  force  and  truth,  and  in  these  Va- 
lera holds  his  own.  His  "Pepita  Jimenez"  is  an  example  of 
"that  complete  synthesis  of  gravity  of  matter  and  gaiety  of 
manner  which  is  the  glittering  crown  of  art  and  which  outside 
of  Spanish  literature  is  to  be  found  only  in  Shakespeare,  and 
even  in  him  in  a  far  less  obvious  degree."  In  Valera's  "Pe- 
pita Jimenez"  and  "Dofia  Luz"  and  in  Pereda's  "Sotileza"  we 


—  50  - 

have  a  trio  of  Spanish  heroines  who  deserve  their  fame.  Other 
stories  remarkable  for  their  truth  and  beauty  are  "Un  alma 
de  Dios"  and  *'Su  amado  discipulo"  by  Juan  Ochoa,  a  writer 
who  had  shown  promise  of  the  highest  order. 

It  is  the  charm  of  most  modern  Spanish  novelists,  that  they 
are  intensely  local.  Valera  is  at  his  best  in  Andalusia,  Pereda 
in  Cantabria,  Palacio  Valdes  in  Asturias,  and  the  Condesa 
Pardo  Bazan  in  Galicia.  Vicente  Blasco  Ibaiiez  is  a  Valen- 
cian  and  he  is  most  himself  in  the  surroundings  of  his  ad- 
mirable novels  "Flor  de  Mayo"  and  "La  Barraca."  Of  the 
younger  novelists  he  is  the  most  notable  in  reputation.  In 
others  of  his  works  he  deals  with  important  social  problems, 
thus  in  "La  Horda"  he  defends  the  standpoint  of  the  poor  and 
in  "La  bodega"  he  voices  a  protest  against  capitalism. 

Pio  Baroja  in  "Aventuras,  inventos  y  mixtificaciones  de  Sil- 
vestre  Paradox,"  "Rey"  and  in  "Los  ultimos  romanticos."  and 
Felipe  Trigo  in  "Las  ingenuas"  and  "La  sed  de  amar"  intro- 
duce a  fresh  note  of  social  satire,  while  novelty  of  thought 
and  style  characterizes  J.  Martinez  Ruiz,  who  writes  under 
the  pseudonym  of  Azorin,  in  "Las  confesiones  de  un  pequeho 
filosofo,"  and  Ramon  del  Valle  Inclan  in  "Flor  de  Santidad" 
and  "Sonata  de  Otofio."  Gregorio  Martinez  Sierra  has  shown 
considerable  mastery  of  the  difficulties  of  the  short  story  in 
"Pascua  florida"  and  "Sol  de  la  tarde." 

Besides  the  above  mentioned  works  the  historical  novel  is 
naturally  interesting  for  the  student  of  Spanish  literature.  To 
one  who  wishes  to  obtain  in  the  most  agreeable  way  a  just 
idea  of  the  political  and  social  evolution  of  Spain  from  the 
time  of  Charles  IV  to  the  time  of  the  Republic  the  huge  series 
entitled  "Episodios  Nacionales"  of  Benito  Perez  Galdos  may 
be  heartily  recommended.  Imitating  Erckmann-Chatrian  in 
these  "Episodios,"  he  has  written  the  modern  national  epic 
poem  in  form  of  a  novel.  Out  of  the  four  series  which  comprise 
10  vols,  each,  I  suggest  "La  Corte  des  Carlos  IV,"  "Trafalgar," 
"Zaragoza"  and  "Zumalacarregui." 


—  51  — 

In  his  "Novelas  Espanolas  Contemporaneas"  (28  novels  in 
39  vols.)  he  gives  us  an  interesting  view  of  Spanish  society  in 
all  its  aspects  dealing  with  the  moral  and  mental  struggle  of 
his  country.  So  in  "Doiia  Perfecta"  he  discusses  the  conflict 
between  the  old  type  of  Spanish  ecclesiasticism  and  modern 
scientific  thought. 

For  a  teacher  who  is  desirous  of  reading  some  of  the  better 
known  works  written  by  Latin-American  writers  I  commend: 
Jorge  Isaacs  (Argentine)  "Maria,"  the  most  noted  Spanish- 
American  novel;  Ricardo  Palma  (Peru)  "Tradiciones  perua- 
nas;"  Gertrudis  Gomez  de  Avellaneda  (Cuba)  "Guatimozin  o 
el  ultimo  emperador  de  Mexico"  and  Alberto  Blest  Gana 
^Chile)  "Durante  la  reconquista."  Of  the  younger  South- 
American  novelists  we  may  mention:  Ruben  Dario  (Nicara- 
gua), Manuel  Ugarte  (Argentine)  and  Enrique  Gomez  Carillo, 
called  the  Spanish  Pierre  Loti  (Guatemala) ;  Adrian  del  Valle 
(Cuba);  Goicocheo  Menendez  (Paraguay);  Rufino  Blanco 
Fombona  (Venezuela),  and  Amador  Nervo  (Mexico). 

The  object  of  this  brief  review  is  to  interest  the  teachers 
and  students  of  Spanish  to  the  extent  of  leading  them  to 
study  in  the  original  the  masterpieces  of  this  fine  and  force- 
ful literature. 

Allow  me  to  reiterate :  the  study  of  the  masterpieces  them- 
selves must  always  stand  in  the  foreground.  If  a  student  re- 
lies on  critical  works  alone  he  will  never  learn  to  judge  for 
himself  and  will  only  make  himself  a  reservoir  for  the  opinions 
of  others. 

A  word  about  "Reading:"  Poems  should  never  be  read  in 
rapid  succession ;  a  pause  after  the  reading  of  each  is  neces- 
sary. In  reading  dramas  and  novels  it  is  best  to  take  a  fairly 
large  section  at  each  sitting.  It  is  very  convenient  to  read 
aloud,  but  at  the  end  this  is  apt  to  become  tiresome,  and  pos- 
sibly tends  to  detract  attention  from  the  subject;  but  unques- 
tionably it  is  very  profitable  to  read  aloud  a  part  at  least  of 
each  work  studied.  A  still  greater  advantage  is  found  in  read- 
ing aloud  in  company ;  for  example,  dramas  may  be  read  by 


—  52  — 

distributing  the  roles  so  that  each  member  of  the  company 
reads  the  lines  belonging  to  the  character  whose  part  he  rep- 
resents. After  the  work  has  been  read  its  general  contents, 
style,  technique  and  character  should  be  discussed,  as  well  as 
the  impression  it  left  on  the  readers. 


The  best  general  collection  of  Spanish  authors  is  the  well- 
known  "Biblioteca  de  autores  espanoles,  desde  la  formacion 
del  lenguaje  hasta  nuestros  dias"  (71  vols.  1846-80.  Madrid), 
published  by  Rivadeneyra.  More  recent  publication  are  the 
"Nueva  Biblioteca  de  autores  espanoles,"  published  under  the 
direction  of  Marcelino  Menendez  y  Pelayo  (12  vols,  have  been 
published  so  far),  and  the  "Biblioteca  Hispanica"  with  18  vols, 
published. 

The  cheapest  of  the  modern  issues  are  the  tiny  but  fairly  well 
printed  volumes  of  the  "Biblioteca  Universal,  Coleccion  de  los 
mejores  autores  antiguos  y  modernos"  (Madrid).  In  these  a. 
really  good  selection  of  the  best  Spanish  authors  of  all  time 
is  to  be  found.  On  account  of  their  low  price  (10  cents  each) 
any  student  can  easily  afford  to  buy  them. 


-  53  — 

10.     HISTORY  AND  GEOGRAPHY  OF  SPAIN. 

Spanish  Society,  Institutions  and  Manners.    Educa- 
tion in  Spain.    Spanish  Art. 

"No  man,"  says  E.  A.  Freeman  in  an  oft-quoted  ,part  of 
his  "History  of  the  Norman  Conquest,"  "can  study  political 
history  worthily  without  learning  a  good  deal  about  languages ; 
no  man  can  study  language  worthily  without  learning  a  good 
deal  about  political  history."  Of  still  more  importance  is  the 
History  of  Civilization,  which  naturally  is  intimately  related 
to  the  political  history.  As  the  student  of  Spanish  philology 
should  make  it  a  point  to  be  well  informed  as  to  the  main  facts 
of  either  subject  he  should  have  some  standard  books  of 
history  and  geography  in  his  library. 

With  regard  to  history  I  recommend  strongly  the  "Historia 
de  Espafia  y  de  la  civilizacion  espafiola"  (Barcelona  1900-1911 
in  4  vol.)  by  R.  Altamira  y  Crevea.  This  work  is  one  of  the 
best  of  its  kind,  corresponding  to  the  present  state  of  histori- 
cal science,  and  teachers  should  make  it  a  point  to  obtain  this 
excellent  work.  Among  the  Spanish  histories  of  moderate 
size  perhaps  the  most  commendable  are  "Prontuario  de  his- 
toria des  Espaiia  y  de  la  civilizacion  espafiola"  (Madrid  1907) 
by  Felix  Sanchez  Casado;  the  "Compendio  de  Historia  de 
Espaila  (Madrid  1915,  5th  edition)  by  Ricardo  Beltran  y  R6z- 
pide;  and  the  "Historia  de  la  civilizacion  iberica"  by  Oliveira 
Martins. 

No  satisfactory  general  history  of  Spain  has  been  written 
by  a  foreigner.  Some  English,  German  and  French  works  on 
Spanish  history  are:  Martin  A.  S.  Hume  "The  Spanish  people, 
their  origin,  growth  and  influence"  (New  York  1906);  "Spain. 
Its  greatness  and  decay  1479-1788"  (Cambridge  1905),  and 
"Modern  Spain.  History  of  1788-98"  (New  York  1903).  These 
three  books  are  also  translated  into  Spanish.  There  is 
also    Butler    Clarkes'  "Modern    Spain    1815-98"    (Cambridge 


—  54  — 

1906).  Mention  should  also  be  made  of  Gustav  Dierks'  "Ge- 
schichte  Spaniens  von  den  friihesten  Zeiten  bis  auf  die  Gegen- 
wart"  (Berlin  1895-96),  and  P.  A.  Dozy  "Recherches  sur  I'his- 
toire  politique  et  litteraire  d'Espagne"  (Leyden  1881).  It  will 
also  be  of  interest  for  students  to  refer  to  Buckle's  "History 
of  Civilization  in  England,  France  and  Scotland"  (3  vol.)  and 
to  Herbert  Spencer's  "Descriptive  Sociology:  The  Spanish 
civilization." 

A  large  popular  history  of  Spain,  with  numerous  illustra- 
tions, written  by  a  Spaniard,  is  that  of  Modesto  de  Lafuente 
"Historia  general  de  Espaiia  desde  los  tiempos  primitivos 
hasta  la  muerte  de  Fernando  VH"  in  30  volumes  (1850-67), 
new  edition  by  Juan  Valera  in  22  vol.  (Barcelona  1888).  It 
was  written  before  the  medieval  period  had  been  properly  in- 
investigated,  it  is  wordy  and  largely  spoiled  by  a  display  of  na- 
tional vanity.  This  work  and  the  "Historia  general  de  Esparia," 
edited  by  members  of  the  Spanish  Academy  and  published  by 
"El  Progreso  Editorial"  (Madrid),  as  well  as  the  "Historia  6e 
Espafia"  by  Juan  Ortega  y  Rubio  (8  vol.  Madrid  1910),  are 
too  bulky  and  expensive  for  ordinary  purposes. 

With  regard  to  geography,  Muro's  "Nociones  de  geografia 
especial  de  Espaiia"  (Madrid  1905)  and  F.  Diaz  Carmona  "Ele- 
mentos  de  Geografia  general  y  especial  de  Espana"  (3rd  edit.) 
are  useful  books.  To  these  I  may  add  Regel,  "Landeskunde 
der  Iberischen  Halbinsel"  (Leipzig  1905)  and  J.  Zimmermann 
"Spain  and  her  people"  (London  1906).  Very  inexpensive  and 
useful  for  class-teaching  is  Pedro  de  Alcantara  Garcia's  "La 
Patria  Espahola"  (Madrid  1905).  It  deals  with  Spain  as  a 
nation,  with  its  political  and  administrative  organization,  com- 
merce, industry,  agriculture  and  physiography. 

Among  handbooks  for  travelers  in  Spain  the  following  are 
well  known  and  need  no  recommendation :  Karl  Baedeker 
"Spain  and  Portugal.  Handbook  for  travelers"  (London  and 
New  York  1908);  H.  O'Shea  "Guide  to  Spain  and  Portugal" 
(Black's  Guide  Books);  R.  Ford,  Murray's  Handbook  for 
Spain  (2  vol.  London  1906).     There  are  also  a  host  of  small 


—  55  — 

guide  books  which  must  be  here  omitted.  Students  or  teach- 
ers requiring  wall  maps  of  Spain  may  be  referred  to  the  de- 
tailed "Schulwart-Katalog"  or  to  Stanford's  "Catalogue  of 
Maps  and  Books  for  Tourists."  Among  the  general  atlases 
Stieler's  Handatlas  (Gotha  1907)  contains  the  best  maps  for 
general  use. 

The  student  of  Spanish  philology  ought  to  get  acquainted 
with  the  intellectual  and  material  culture,  and  the  modern  so- 
cial and  political  conditions  of  Spain. 

The  literature  on  Spanish  life  and  customs  is  exceedingly 
rich  and  descriptions  of  parts  of  Spain  and  accounts  of  trav- 
els in  the  provinces  abound.  Only  a  few  books,  which  may 
be  of  value  and  interest  to  the  teacher,  can  be  here  mentioned: 
"Suelo,  lenguaje  y  canto  en  Espafia  y  Portugal"  by  F.  Vidal  y 
Careta;  "Por  la  Espaiia  pintoresca"  (Barcelona  1895)  by  E. 
Pardo  Bazan;  "Terre  d'Espagne"  (Paris  1895)  by  R.  Bazin; 
"Castilian  Days"  (2nd  edition— London  1897)  by  J.  Hay; 
"Wanderings  in  Spain"  (8th  edition,  London  1904)  by  A.  H.  C. 
Hare;  "Spanish  Highways  and  Byways"  (New  York  1907)  by 
Katherine  Lee  Bates;  "Spain  and  the  Spaniards"  by  Eduardo 
de  Amici  (New  York  1885);  "Das  moderne  Geistesleben  Spa- 
niens"  (Leipzig  1883)  by  Gustav  Diercks,  and  "Das  moderne 
Spanien"  (Berlin  1908)  by  the  same  author;  "The  soul  of 
Spain"  (Boston  1908)  by  H.  Havelock  Ellis;  "La  Espaiia  de 
ayer  y  hoy"  (Madrid  1899)  by  E.  Pardo  Bazan;  "Nuestros  co- 
stumbres"  (Madrid  1900)  by  P.  Gotor  de  Burbaguena;  "Psico- 
logia  del  pueblo  espafiol  (Madrid  1902)  by  R.  Altamira  y 
Crevea;  "El  alma  espaiiola"  (Madrid  1911)  by  Gustavo  La 
Iglesia  y  Garcia;  "Espaiia  contemporanea"  (Paris  1907)  by 
Ruben  Dario;  "Relaciones  de  solemnidades  y  fiestas  publicas 
de  Espafia"  (Madrid  1903)  by  J.  Alenda  y  Mira;  "Constitu- 
cion  y  vida  del  pueblo  espaiiol"  (Madrid  1905)  by  V.  Gay.  A 
very  interesting  account  of  Spanish  life  in  its  different  aspects 
is  given  in  the  special  number  of  the  Nouvelle  Revue  Inter- 
nationale (Paris  1900)  "L'Espagne:  politique,  litterature,  ar- 
mee,  etc.;"  and  G.  H.  B.  Ward's  "Truth  about  Spain"  (New 


—  56  — 

York  1911),  which  has  been  published  also  in  Madrid  (19111 
under  the  title  of  "La  verdad  acerca  de  Espana."  The  atten- 
tion of  students  may  also  be  drawn  to  the  "Spanish  Series"  of 
monographs  on  towns  and  cities,  edited  by  A.  F.  Calvert  (Lon- 
don) whieh  is  noteworthy  for  descriptions  of  architecture  and 
painting,  and  for  the  excellence  of  its  many  illustrations. 

To  these  should  be  added  two  very  interesting  little  books — 
sequel  to  Kron's  "Der  kleine  Deutsche"  or  "Le  petit  Parisien" 
— "El  castellano  actual"  by  Roman  y  Salamery  (Karlsruhe 
1905)  and  the  other  by  Rodrigo  H.  Bonilla  "Spanish  daily 
life"  (Newson's  Modern  Language  Books,  New  York).  They 
are  very  valuable  to  teachers,  giving  in  simple  Castilian  use- 
ful information  about  Spanish  life,  manners,  customs  and  in- 
stitutions. 

Teachers  of  Spanish  will  naturally  be  interested  in  the  or- 
ganization of  education  in  Spain.  They  will  find  much  valu- 
able information  on  this  point  in  the  following  works :  Eugenio 
Garcia  Barbarin  "Historia  de  la  Pedagogia  espafiola"  (Madrid 
1909) ;  F.  de  Figueroa  y  Pacheco  "La  Universidad  espanola" 
(Alicante  1903) ;  and  Miguel  de  Unamuno  "De  la  ensefianza 
superior  en  Espaiia."  An  extremely  interesting  work  is  the 
lecture  given  by  Sefior  Bonilla  y  San  Martin  before  the  Uni- 
versidad Central  de  Madrid  in  1914  on  "La  vida  cooperativa 
de  los  estudiantes  espaiiolas  en  sus  relaciones  con  la  historia 
de  las  Universidades"  (1914). 

A  good,  and  well  illustrated,  popular  manual  on  the  general 
history  of  Spanish  art  is  Marcel  Dieulafoy's  "Art  in  Spain  and 
Portugal"  (New  York  1913).  For  Spanish  sculpture  the  stu- 
dent may  be  advised  to  read  Paul  Lafond's  "La  Sculpture 
Espagnolle"  (Bibliotheque  de  L'Enseignement  des  Beaux 
Arts),  Paris  (Librairie  d'Education  nationale).  The  attention 
of  students  may  also  be  drawn  to  the  following  book:  "Stories 
of  the  Spanish  artists  until  Goya"  by  William  Stirling  Max- 
well (London  1910). 

For  those  who  wish  a  brief  survey  of  the  life  and  art  of  the 
most  famous  artists  and  who  wish  to  obtain  good  and  inexpen- 


—  57  — 

sive  reproductions  of  the  most  celebrated  paintings  of  these 
artists  the  "Masters  in  Art"  may  be  recommended.  A  series  of 
illustrated  monographs"  by  Bates  &  Guild  Co.,  Boston;  "Clas- 
sics in  Art  series,"  New  York,  Brentano's;  Langham  Series  of 
Art  Monographs  (New  York  1905);  "Kiinstler-Monogra- 
phien"  by  Velhagen  und  Klasing,  Leipzig:  "Klassiker  der 
Kunst  in  Gesamtausgaben"  by  the  "Deutsche  Verlags-Anstalt, 
Stuttgart;  Weicher's  Kunstbiicher,  Berlin;  "Los  grandes 
maestros  de  la  pintura  espaiiola"  by  Fernando  Fe,  Madrid; 
"Klassische  Illustratoren"  by  R.  Piper  &  Co.,  Miinchen ;  edi- 
tions which  include  volumes  on  Murillo,  Velasquez,  Goya,  Ri- 
bera,  El  Greco,  etc. 

Lastly  series  of  reproductions  at  a  very  low  price,  which  il- 
lustrate the  best  works  of  the  great  masters,  may  be  obtained 
from  the  Cosmos  Picture  Company  (New  York);  "The  Uni- 
versity Prints"  (Spanish  Art),  Boston;  "The  Perry  Pictures," 
Maiden,  Mass.;  and  "Meister  der  Farbe"  (in  color), 
published  by  E.  A.  Seemann,  Leipzig.  Each  series  is  in  a 
portfolio  and  is  accompanied  by  a  small  pamphlet  giving  a 
description  of  the  pictures  of  that  series. 


-  58  — 

11.     REVIEWS,  PERIODICALS  AND  BIBLIO- 
GRAPHIES. 

The  more  advanced  philologist  has  also  to  study  the  rich 
literature  of  reviews  and  periodicals  containing  matters  of  in- 
terest to  the  student  of  Spanish,  with  the  purpose  of  keeping 
abreast  of  the  progress  and  development  of  modern  investiga- 
tion. 

The  chief  reviews  dealing  exclusively  or  largely  with  Span- 
ish language  and  literature  are:  The  "Revue  hispanique," 
edited  by  Raymond  Foulche  Delbosc,  dedicated  especially  to 
the  study  of  the  language,  literature  and  the  history  of  the 
Spanish  and  Portuguese  countries;  the  "Romania,"  admirably 
edited  by  the  two  leading  philologists  of  France,  Gaston  Paris 
and  Paul  Meyer,  it  brings  frequently  admirable  studies  of 
Morel-Fatio,  Cornu,  Cuervo  and  other  philologists  of  note. 
Similar  in  importance,  purpose  and  scope  to  the  "Romania" 
are  the  "Zeitschrift  fiir  romanische  Philologie"  (Halle)  by  Gu- 
stav  Grober,  the  "Giornale  storico  della  letteratura  italiana" 
(Torino),  edited  by  Francesco  Novati  and  Rudolfo  Renier,  and 
the  "Romanische  Forschungen"  (Erlangen)  by  Dr.  Karl  Voll- 
moller.  The  "Bulletin  hispanique,"  edited  by  Ernest  Meri- 
mee,  P.  Parissaud  and  G.  Civot,  appears  in  Bordeaux,  and  the 
"Revista  Espafiola  de  Literatura,  Historia  y  Arte"  by  Emilio 
Cotarelo  y  Mori  exists  since  1901.  Of  the  excellent  "Anales 
de  la  literatura  espafiola,"  edited  by  Adolfo  Bonilla  y  San 
Martin,  only  the  first  volume  has  appeared. 

In  order  to  find  out  what  books  have  been  published  at  a 
certain  time,  in  a  certain  language  or  on  a  certain  subject,  we 
use  bibliographies. 

A  Spanish  bibliography  ("Bibliographic  Hispanique" — Paris) 
of  the  latest  publications  on  the  languages,  literatures  and  his- 
tory of  the  Spanish  speaking  countries,  Cataluna  and  Portu- 
gal, compiled  by  the  distinguished  editor  of  the  Revue  His- 


—  59  - 

panique,  Raymond  Foulche-Delbosc,  appears  every  year.  This 
Annual  reports  not  only  on  books  and  pamphlets,  but  also  on 
articles  published  in  other  reviews.  The  "Literaturblatt  fur 
germanische  und  romanische  Philologie"  contains  only  criti- 
cisms, summaries  of  periodicals  and  lists  of  new  publications. 
The  "Kritischer  Jahresbericht  iiber  die  Fortschritte  der  roma- 
nischen  Philologie"  reports  critically  on  important  new  pub- 
lications in  the  department  of  Romance  languages  and  litera- 
ture. 

Three  other  Spanish  publications  will  be  especially  useful 
to  teachers  of  Spanish : 

"Bibliografia  Espariola" 

Revista  oficial  de  la  Asociacion  de  las  Librerias 
de  Espaha.  Madrid,  Calle  de  M.  Fernandez  y  Gon- 
zalez 15. 

"Archivo  biblografico  hispano-americano  publi- 
cado  por  la  libreria  general  de  Victoriano  Suarez. 
Madrid,  Calle  Preciadoj  48. 

"Catalago  mensual  de  la  libreria  nacional  y  ex- 
tranjera,"  publicado  por  Fernando  Fe.    Librero.    Ma- 
drid, Puerta  del  Sol  15. 
These  catalogues  appear  once  a  month  and  record  the  miost 
important  works  published  in  Spain. 

Of  Spanish  periodicals  containing  matter  of  interest  to  the 
student  of  Spanish  and  whose  aim  is  to  give  in  an  attractive 
form  information  on  literature,  politics,  bibliography,  etc.,  are : 
"La  Lectura,"  the  "Espafia  Moderna,"  "La  Cultura  Espariola" 
and  the  "Revista  Contemporanea."  They  are  monthly  maga- 
zines published  in  Madrid.  Among  the  illustrated  periodicals 
the  "Ilustracion  Espariola  y  Americana"  and  "Blanco  y  Negro" 
(both  weekly  papers)  will  probably  be  found  especially  in- 
teresting. 


—  60  ^ 

12.     METHOD  OF  TEACHING  MODERN  FOR- 
EIGN LANGUAGES. 

No  school  teacher  who  takes  the  slightest  interest  in  his 
subject  can  at  the  present  time  afford  to  keep  aloof  from  the 
discussions  as  to  the  best  method  of  teaching  modern  foreign 
languages. 

The  following  bibliography  contains  the  principal  books, 
pamphlets,  essays  and  reports,  which  appear  to  be  specially 
useful,  and  a  modern  language  teacher  will  no  doubt  wish  to 
possess  some  of  these  works  for  himself,  so  as  to  be  able  to 
refer  to  them  as  occasion  arises. 

A  valuable  guide  for  teachers  and  students  of  modern  lan- 
guages, valuable  by  its  criticism.s  of  both  older  and  newer 
methods  and  by  its  positive  advice  is  Henry  Sweet's  "The 
Practical  Study  of  Languages."  A  good  manual  and  book  of 
reference  on  questions  on  language  teaching  is  Arnold  Oh- 
lert's  "Allgemeine  Methodik  des  Sprachunterrichts  in  kriti- 
scher  Begriindung."  An  interesting  pamphlet  from  the  same 
author  is  "Das  Studium  der  Sprachen  und  die  geistige  Bil- 
dung."  Other  books,  which  will  be  found  very  serviceable, 
are  Otto  Jespersen's  "How  to  teach  a  foreign  language"  (Lon- 
don 1904) ;  Dr.  O.  Thiergen  "Methodik  des  neusprachlichen 
Unterrichts"  (Leipzig  1902);  Leopold  Bahlsen  "The  teaching 
of  modern  languages"  (New  York  1905);  Karl  Breul  "The 
Teaching  of  Modern  Foreign  Languages  and  the  Training  of 
Teachers"  (Cambridge  1906);  H.  Klinghardt  "Ein  Jahr  Erfah- 
rungen  mit  der  neuen  Methode"  (Marburg  1888),  and  by  the 
same  author  "Drei  weitere  Jahre  Erfahrungen"  (Marburg 
1892),  both  most  interesting.  Shorter  reports  on  modern 
languages  which  every  teacher  should  read  are  the  "Report 
of  the  Committee  of  Twelve"  of  the  Modern  Language  Asso- 
ciation of  America  (Boston  1904) ;  the  reports  (by  Miss  Mont- 
gomery, F.  Ware,  Miss  Brebner  and  E.  Hausknecht)  in  vol. 


—  Gi- 
ll, and  III.  of  "Special  reports  on  educational  subjects,"  pub- 
lished by  the  Educational  Department  (London  1903);  also 
collected  in  one  volume  under  the  title  "Special  reports  of 
modern  language  teaching"  (London  1903);  W.  H.  Widgery 
"The  Teaching  of  Languages  in  Schools"  (London  1888);  the 
three  pamphlets  by  Max  Walter  "Die  Reform  des  neusprach- 
lichen  Unterrichts  auf  Schule  und  Universitat"  (Marburg 
1901);  "Der  Gebrauch  der  Fremdsprache  bei  der  Lektiire  in 
den  Oberklassen"  (Marburg  1905);  "Aneignung  und  Verarbei- 
tung  des  Wortschatzes  im  neusprachlichen  Unterricht"  (Mar- 
burg 1907);  Carl  A.  Krause  "Ueber  die  Reformmethode  in 
Amerika"  (Marburg  1914) ;  and  B.  Eggert  "Der  psychologische 
Zusammenhang  in  der  Didaktik  des  neusprachlichen  Reform- 
unterrichts"  (Sammlung  von  Abhandlungen  aus  dem  Gebiete 
der  padagogischen  Psychologic  und  Physiologic,  Bd.  VII. 
Heft  4.     Berlin  1904). 

All  of  these  books  advocate  more  or  less  the  so-called  "Re- 
formmethode" or  "Neuere  Richtung"  which  requires  that 
teachers  of  modern  languages  should  specially  strive  to  give 
their  pupils  facility  in  speaking  in  the  foreign  tongue  and  the 
ability  clearly  to  understand  current  authors. 

During  the  last  thirty  years  Germany  has  produced  an  ap- 
palling number  of  publications  on  modern  language  teaching. 
To  the  list  already  mentioned  we  may  add  Wilhelm  Victor's 
"Quosque  tandem?  Der  Sprachunterricht  muss  umkehren," 
which  gave  a  great  impetus  to  the  Reform  movement,  and  by 
the  same  author  "Die  Methodik  des  neusprachlichen  Unter- 
richts" (Leipzig  1902),  a  historical  review  in  four  lectures.  F. 
Franke  "Die  praktische  Spracherlernung  auf  Grund  der  Psy- 
chologic und  Physiologic  der  Sprache"  (Leipzig  1896) ;  Tanger 
"Muss  der  Sprachunterricht  umkehren?"  (opposed  to  the  "New 
Method");  v.  Roden  (eclectic)  "Inwiefern  muss  der  Sprach- 
unterricht umkehren?";  Wehrmann  "Wider  die  Methoden- 
kiinstelei  im  neusprachlichen  Unterricht;"  Stieler  (moderate) 
"Zur  Methodik  des  neusprachlichen  Unterrichts  und  die  Vor- 
bildung  der  Lehrer;"  Mangold  "Geloste  und  ungeloste  Fragen 


—  62  — 

dcr  Methodik  auf  dem  Gebiete  der  neueren  Sprachen;"  K.  A. 
M.  Hartmann  "Die  Anschauung  im  neusprachlichen  Unter- 
richt;"  E.  v.  Sallwiirk  "Fiinf  Kapitel  vom  Erlernen  fremder 
Sprachen;"  R.  Kron  "Die  Methode  Gouin  oder  das  Seriensys- 
tem  in  Theorie  und  Praxis"  und  "Zur  Verwertung  der  bild- 
lichen  Anschauung  im  neusprachHchen   Unterricht." 

Among  French  publications  on  modern  language  teaching 
the  following  will  be  very  helpful  and  interesting:  M.  Breal 
"De  I'enseignement  des  langues  vivantes,"  F.  Gouin  "L'art 
d'enseigner  et  etudier  les  langues"  and  the  three  essays  which 
obtained  prizes  in  1898  and  have  been  published  in  a  collective 
volume;  Laudenbach,  Passy,  Delobel,  "De  la  methode  directe 
dans  I'enseignement  des  langues  vivantes."  F.  Colland  "La 
methode  directe  dans  I'enseignement  des  langues  vivantes;" 
"De  la  methode  pour  I'enseignement  scolaire  des  langues  vi- 
vantes." 

The  books,  pamphlets  and  essays  are  unequal  in  value  and 
invariably  written  from  the  same  point  of  view,  but  they  will 
all  be  found  suggestive  and  helpful.  This  list  does  not  com- 
prise all  that  is  worth  reading  on  the  subject,  its  aim  being 
simply  to  point  out  those  contributions  to  the  study  of  methods 
of  modern  language  teaching,  in  which  teachers  will  find  use- 
ful suggestions  and  inspiration.  Teachers  who  wish  to  found, 
on  a  common  basis  the  instruction  in  foreign  modern  lan- 
guages and  in  English  will  find  useful  suggestions  in  Daven- 
port and  Emerson's  "The  principles  of  Grammar." 

Teachers  should  also  make  it  a  point  to  read  some  of  the 
periodicals  dealing  exclusively  or  largely  with  the  teaching  of 
modern  languages.  The  most  important  periodicals  are  the 
following:  The  "Educational  Review,"  edited  by  Nicholas  Mur- 
ray Butler  (New  York),  and  "Modern  Language  Notes,"  edited 
by  A.  Marshall  Elliott  (Baltimore),  a  monthly  publication  de- 
voted to  the  interests  of  the  academic  study  of  English,  German 
and  Romance  languages;  "The  School  Review,"  edited  by  the 
Department  of  Philosophy  and  Education  in  the  University  of 
Chicago;  "Modern  Language  Teaching,"  the  official  organ  of 


—  63  — 

the  "Modern  Language  Association,"  edited  by  Walter  Ripp- 
mann  (London).  "Die  neueren  Sprachen,"  Zeitschrift  fiir  den 
neusprachlichen  Unterricht,  edited  by  Wilhelm  Vietor  (Mar- 
burg) ;  "Revue  de  Tenseignement  des  langues  vivantes,"  edited 
by  A.  Wolfromm  (Paris);  "Les  langues  modernes"  (Paris); 
"Le  Maitre  phonetique"  (printed  according  to  phonetic  spell- 
ing and  advocating  the  principles  of  the  Association  phone- 
tique internationale,  whose  organ  it  is),  Dr.  P.  Passy,  Bourg- 
la-Reine,  France;  "Bulletin  mensuel  de  la  Societe  des  pro- 
fesseurs  de  langues  vivantes  de  I'enseignement  public"  (Pa- 
ris). "Bollettino  de  Filologia  Moderna"  (Organo  dell'  As- 
sociazione  nazionale  tra  i  professori  di  lingue  straniere,"  edited 
by  Prof.  Romero  Lovera,  Palermo). 


I  trust  that  the  recommendations  and  hints  given  above  may 
enable  teachers  and  students  to  make  a  good  choice  of  books 
of  reference  in  the  various  departments  of  their  teaching  and 
private  study  and  thus  render  som.e  service  to  the  cause  of  the 
study  and  teaching  of  Spanish  in  this  country. 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


AA      000  318  214    4 


